“reading michael berman’s a multiple intelligences road · pdf filelearning styles...

Education

Michael Berman is a teacher,

teacher-trainer, writer and

authority in the field of English Language

Teaching. With thirty years’ experience

of teaching and training both in the UK

and overseas, he has a wealth of

expertise in imparting his knowledge to

teachers everywhere.

Written and designed for teachers

of English as a second language,

this is a visually appealing,

thoroughly practical resource full of

exercises, activities, stories,

visualisations, puzzles and information

for immediate use in the classroom.

The book is organised into ten clearly

defined units: an introduction to

learning styles and the multiple

intelligences; a section on each of the

eight intelligences; and a final section

on teaching young learners. Each unit

provides exercises and advice for

teaching each intelligence type.

This book contains all that you need to

keep your students challenged and

learning in the style that suits them

best. Covering all essential areas of

English Language Teaching, A MultipleIntelligences Road To An ELTClassroom makes your teaching

accessible, compelling and FUN!

An extremely versatile book, it can also

be used as an activities resource for

teachers of English as a first language.

“Reading Michael Berman’s A MultipleIntelligences Road To An ELTClassroom helped me organise my

methodological thinking into a neat,

manageable system (“the SAFER

teaching method”) and made me look at

language exercises and activities from

an entirely new perspective. It enabled

me to apply in practice Gardner’s

Multiple Intelligences Theory in the ELT

classroom.”

— Rolf Palmberg, teacher and trainer,Åbo Akademi University, Vaasa, Finland.

“Refreshingly lucid and jargon-free. Its

emphasis is on the practical application

of MI theory and is full of immediately

useable and interesting classroom

activities, interleaved with thoughtful

and well-balanced analysis of the

rationale underpinning them, thus

encouraging ‘intelligent’ teacher use.”

— Christine Barker,freelance teacher/trainer.

Crown House Publishing Limitedwww.crownhouse.co.uk

Book design: Alex RoperCover design: simonma

MIELTcvr03.qxd 08/10/02 16:43


A Multiple Intelligences RoadTo An ELT Classroom

Michael Berman

First published byCrown House Publishing Ltd

Crown Buildings, Bancyfelin, Carmarthen, Wales, SA33 5ND, UKwww.crownhouse.co.uk

and

Crown House Publishing Company LLC4 Berkeley Street, 1st Floor, Norwalk, CT 06850, USA

www.CHPUS.com

© Michael Berman 1998, 2002.

The right of Michael Berman to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988.

First published 1998.Reprinted 2002, 2005.

All rights reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public,

adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner. Enquiries should be

addressed to Crown House Publishing Limited.

British Library of Cataloguing-in-Publication DataA catalogue entry for this book is available

from the British Library.

10 Digit ISBN 1899836233

13 Digit ISBN 978-189983623-9

LCCN 2002110019

Printed and bound in the UK byCromwell Press, Trowbridge, Wiltshire

Table of Contents

Acknowledgments ....................................................................................................................ii

Introduction ....................................................................................................................iii

Unit 1: Learning Styles And Intelligence Types................................................1

Unit 2: How To Cater For Kinesthetic Intelligence...........................................9

Unit 3: How To Cater For Musical Intelligence ..............................................25

Unit 4: How To Cater For Interpersonal Intelligence.....................................33

Unit 5: How To Cater For Logical-Mathematical Intelligence......................79

Unit 6: How To Cater For Linguistic Intelligence.........................................113

Unit 7: How To Cater For Spatial Intelligence ..............................................133

Unit 8: How To Cater For Intrapersonal Intelligence ..................................147

Unit 9: How To Cater For Naturalist Intelligence ........................................157

Unit 10: The SAFER Teaching Model ...............................................................183

Appendix: How To Cater For Young Learners ....................................................191

Bibliography .................................................................................................................201

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Introduction

The idea for the title was taken from A Multiple Intelligences Road To A QualityClassroom – a book by Sally Berman (no relation) published by IRI/Skylight Trainingand Publishing Inc., 1995. Sally Berman is a retired high school chemistry teacher.Although some of the materials from that book can be adapted for use in EnglishLanguage Teaching and it is well worth reading, it was not written with ELT in mind.

Anyone who has read the work of Howard Gardner, the educational psychologist,cannot fail to recognise the relevance of Multiple Intelligences Theory to all forms ofteaching, and this book is the first to apply it to English Language Teaching. MI Theoryprovides a much more comprehensive definition of intelligence than the traditionalBinet model upon which IQ tests are based and recognises that intelligence is somethingthat can be developed rather than something fixed.

The opening chapter provides an outline of this theory and is followed by chapters onhow to cater for each of the eight intelligence types in the ELT classroom. The intentionin each case is to illustrate how the theory can be applied in practice. The conclusionpresents an alternative teaching model which incorporates MI Theory and otherAccelerated Learning techniques such as Neuro-Linguistic Programming, EducationalKinesiology and Suggestopedia. There is also an appendix which deals with how tocater for young learners.

Our own strengths and weaknesses are, not surprisingly, reflected in our teachingstyles. This is why it is so important for us as teachers to be aware of our individualintelligence profiles so we can make adaptations in class to ensure we reach everyonein the group. I hope as you read through this book my own weaknesses will not becometoo apparent to you!

Michael Berman is a freelance teacher and writer. Publications include the Build YourVocabulary series for LTP, A Multiple Intelligences Road To An ELT Classroom and The Powerof Metaphor for Crown House Publishing. Activating ELT Through Multiple Intelligences,an electronic publication, is available online at www.netlearnpublications.com andOnce Upon A Story from Wida Software. Working with Wisdom Tales (Flying WitchPublications) is due to be published in January 2003. Michael has been involved inTESOL for thirty years and has given presentations at conferences in Austria, the CzechRepublic, Cyprus, France, Georgia, Germany, Italy, Poland, Romania, Russia, Spain,Turkey, and the Ukraine. You can visit Michael’s website at www.thestoryteller.org.ukfor further information and samples of his work.

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Neuro-Linguistic Programming (or NLP)is a set of guiding principles, attitudesand techniques that enable you to changeor eliminate behaviour patterns. Itdescribes the dynamic between the mindand language and how their interplay“programmes” our behaviour.

It began in the 1970s with John Grinderand Richard Bandler who explored howto model excellence by closely observingthree highly successful therapists atwork. The process they used was“modelling” – relying not only on whatthe three thought they were doing, but onthe patterns of language and behaviourthey actually used. The two researchersthen tried out these same patternsthemselves and developed strategies topass them on to others.

One useful idea from NLP is that we takein information chiefly through the eye,ear and movement, and that we eachhave our own preferred learning style. Ascommunicators we need to work to thevaried strengths of our audience and asteachers we need to work to the variedstrengths of our students, rather than getstuck in our own preferred style andimpose this on others. The aim is not toput people into categories, which is tolimit potential, but to teach multi-modally and reach everyone in thegroup.

“When we process information inter-nally, we can do it visually, auditorily,kinesthetically, olfactorily or gustatorily.As you read the word ‘circus’, you mayknow what it means by seeing images ofcircus rings, elephants or trapeze artists;by hearing carnival music; by feelingexcited; or by smelling and tastingpopcorn or cotton candy. It is possible toaccess the meaning of a word in any one,or any combination, of the five sensorychannels.” (From Trance Formations byJohn Grinder & Richard Bandler, 1981.)

By identifying a person’s preferredlearning style and mirroring it, it thenbecomes possible to influence that personwithout his or her being aware of the

process. In the hands ofunscrupulous practitioners, thetechnique can be used to exploitpeople and is open to misuse. Forthis reason, it is not my intention tosell NLP to anyone. However, theawareness of learning styles clearlyhas important implications for usas teachers. Whether we followthe PPP model (presentation,controlled practice, production), theARC model (authentic use, restricteduse, clarification) developed by JimScrivener, the OHE model(Observation/Hypothesis/Experiment)recommended by Michael Lewis or theESA Model (Engage/Study/Activate)proposed by Jeremy Harmer is ofsecondary importance. Unless we caterfor the learning styles of the students weteach, none of these models will succeedin reaching everyone in the group.

So how to identify learning styles andhow to cater for them? Grinder andBandler propose identifying learningstyles from eye movements or “eyeaccessing cues”. This may be appropriatein a one-to-one relationship with a clientin therapy but impractical in the class-room.

An alternative approach is to pay atten-tion to the kind of language the studentsuse – verbal and non-verbal. Forexample, the sort of person who says “Isee what you mean” is more than likelyto be predominantly visual. The type ofperson who remarks “I hear what you’resaying to me” is probably an auditorylearner. The kind of person who usesexpressions such as “what you said reallygrabs me” could well be a kinestheticlearner. Auditory learners also tend totalk over you and kinesthetic learnerswill be restless and constantly fidgeting.

Another way of identifying the learningstyles of your students is by giving thema questionnaire to complete, and onedesigned for this purpose is presentedbelow. Some suggestions as to how tocater for the learning styles are includedin the analysis that follows the questions.

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Unit 1: Learning Styles And Intelligence Types

What Kind Of Learner Are You?

1. How can other people best interpret your emotions?

a. through your facial expressionsb. from the quality of your voicec. through your general body language

2. How do you manage to keep up with current events?

a. by reading the newspaper thoroughly when you have the timeb. by listening to the radio or watching the TV newsc. by quickly reading the paper or spending just a few minutes

watching the TV news

3. What sort of driver (or passenger) are you?

a. you frequently check the rear view mirror and watch the roadcarefully

b. you turn on the radio as soon as you get into the carc. you can’t get comfortable in the seat and continually shift

position

4. How do you prefer to conduct business?

a. by having face-to-face meetings or writing lettersb. over the phone because it saves timec. by talking while you are walking, jogging or doing something else

physical

5. How do you react when you’re angry?

a. by clamming up and giving others the silent treatmentb. by quickly letting others know when you’re angryc. by clenching your fists, grasping something tightly or storming

off

6. How would you describe the way you dress?

a. a neat and tidy dresser b. a sensible dresserc. a comfortable dresser

7. What do you think the best way is to discipline a child?

a. to isolate the child by separating him/her from the groupb. to reason with the child and discuss the situationc. to use acceptable forms of corporal punishment

8. How do you behave at meetings?

a. you come prepared with notes and displaysb. you enjoy discussing issues and hearing other points of viewc. you would rather be somewhere else and so spend your time

doodling

9. What do you like doing in your free time?

a. watching TV or going to the cinemab. listening to the radio, going to a concert or playing a musical

instrumentc. engaging in a physical activity of some kind

A Multiple Intelligences Road To An ELT Classroom

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10.What do you consider to be the best way of rewarding students?

a. writing positive comments on their workb. giving oral praise to the studentc. a pat on the back, a hug, or some other appropriate physical

action

What Your Score Means

If most of your answers are A, then your modality strength is visual.In other words, you learn through seeing things and you like everythingto be written down on paper. In a classroom, having notes and the useof visual aids will help you.

If most of your answers are B, your modality strength is auditory. Inother words, you learn through listening. In a classroom you will want tohear the new language, and listening to music could well be helpful.

If most of your answers are C, your modality strength is kinesthetic.In other words, you learn on the move or through movement. Sittingpassively in a classroom is unlikely to appeal to you but you’ll probablyrespond well to the use of games and role-play.

(taken from ? R U by Michael Berman, 1995)

What is MENSA and who is eligible to become a member?

MENSA is an exclusive club for people with a high IQ or Intelligence Quotient. IQ testswere developed by Binet early this century and were frequently used to assess thepotential of children in schools until quite recently. Tests of this type, however, havenow fallen into disrepute. All they test is linguistic and logical-mathematical intelli-gence, and this traditional definition of intelligence is now regarded as too narrow. Theeducational psychologist largely responsible for this change of attitude is HowardGardner, the creator of the Multiple Intelligences Theory.

Gardner has identified eight intelligence types so far and our intelligence profilesconsist of combinations of the different types: linguistic, logical-mathematical, spatial,bodily-kinesthetic, musical, interpersonal – the way we relate to others, intrapersonal –our ability to self-evaluate, and naturalist – our talent for classifying and categorising.

What are the implications of this theory for teachers? It is clear that unless we teachmulti-modally and cater for all the intelligence types in each of our lessons, we will failto reach all the learners in the group, whichever approach to teaching we adopt. It isalso apparent that if we impose learning styles on our students, they will prove to beineffective. Learners with highly developed spatial intelligence, for example, willrespond to the use of diagrams to record new vocabulary whereas this technique mayhave little or no impact on the rest of us.

Does the fact that we each have a unique profile mean that we should plan individuallessons for everyone in the class to take this into account? Clearly this would be imprac-tical and so the solution lies in including material designed to appeal to each of theseven types in every lesson we give.

Unit 1: Learning Styles And Intelligence Types

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�� 79 ��

on top to make a roof and then add a chimney with smoke coming out.Now draw a rectangle to make a front door for your house, two squaresto make windows downstairs and two squares for windows upstairs. Adda tree on each side of the house to make a garden, a man holding aflower with a smile on his face and a large cat sitting next to him. Finallydraw a circle to make a sun and a couple of clouds.

Colour the leaves on the trees green and the trunks of the trees brown.Colour the flower the man is holding red and the cat black. Colour thesun yellow and the clouds grey or white.

Why is the indefinite article used to describe the shapes and figures tobe drawn and the definite article to describe the colours?

Work in pairs and take it in turns to give your partner a picture to drawand to colour. Use the example above as a model.

Crosswords are popular with problem-solvers and the Phrasal Verb Grids presentedbelow will enable learners to make use of their talents in this field. The grids are topic-based as categorising the phrasal verbs in this way can make them easier to learn. Thisalso makes it easier to relate the activities to the topics that appear in the course bookbeing used. The aim is for the learners to match the numbers with the letters to find thephrasal verbs with the meanings given in the grid. In each case, either a number or aletter is given to provide an additional clue. Once these answers have been checked, thestudents are then given the opportunity to use them in context by fitting them into thegaps in the sentences.

Unit 5: How To Cater For Logical-MathematicalIntelligence

Students who enjoy science subjects and working with computersare likely to have a high degree of logical-mathematical intelligence.These people are problem-solvers, capable of both deductive andinductive reasoning. They appreciate precision and like organisinginformation by sequencing and prioritising it.

The OHE Model presented by Michael Lewis in The Lexical Approach –observe, hypothesis and experiment – is ideally suited to catering forlogical-mathematical intelligence. The activity presented below isdesigned for Elementary students to elicit and provide practice in theuse of the articles. It takes the form of a picture composition.

Take a piece of paper and draw a square on it. Put a triangle

��

Politics

Match the numbers with the letters to find the phrasal verbs withthe meanings given in the grids.


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1step

4bring

9put

D

down

Iback

7cross

Bacross

Gover

5call

10get

Eup

Jthrough

8rule

Coff

Hout

6turn

Aon

Ffor

to resign 3

2pull

3stand

to convey

to delay

to increase (in intensity)

to survive

to discount

to restore

to attack

to defect

to demand

9

2

4

7

B

E

H

A

F

Answers

3 - D10 - B9 - C1 - E2 - J8 - H4 - I6 - A7 - G5 - F

��

��

Now use each of the phrasal verbs once only to complete thefollowing sentences:

1. There has been a lot of pressure on the Prime Minister to ... infavour of someone younger.

2. Do you think the Prime Minister will manage to ... despite all therecent difficulties? Personally, I strongly doubt it.

3. When the former Cabinet Minister ... to the other side, she wasshunned by all her old colleagues.

4. The Prime Minister will probably ... calling a General Election untilthe last possible minute in the hope that the Government’spopularity might have improved by then.

5. If there is no decisive majority, the possibility of a second Electioncannot be ... .

6. The problem with this Government is their failure to ... theirmessage ... to the voters.

7. The Leader of the Opposition ... the disloyal members of the ShadowCabinet by demoting them in a reshuffle.

8. The resignation of the Minister of Transport was ... once his involve-ment in the scandal became known.

9. There in no point in ... capital punishment as there is no evidence tosuggest it would act as a deterrent to would-be criminals.

10. The Opposition campaign against the Government is being ... in anattempt to force an early Election.

Answers

1. stand down2. pull through 3. crossed over4. put off 5. ruled out 6. get across7. turned on 8. called for 9. bringing back10. stepped up

Unit 5: How To Cater For Logical-Mathematical Intelligence

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Unit 7: How to Cater For Spatial Intelligence

In tribal societies, when people hadphysical, emotional or spiritualproblems, they would turn to theShaman or Medicine Man/Woman.(S)He would then journey into whatCarlos Castaneda calls “non-ordinaryreality” to find solutions to the people’sproblems. The altered state of conscious-ness was accessed through drumming,fasting, dancing or by taking psychoac-tive drugs. More recently the sametechnique has been employed inpsychotherapy by practitioners ofpsychosynthesis and in Neuro-LinguisticProgramming, and it is now being intro-duced into the classroom for the firsttime.

The words “hypnosis” and “trance” havenegative connotations for some people.However, “hypnosis” is only a word todescribe the tools you can use to system-atically take someone into an alteredstate of consciousness. People enteraltered states all the time. A goodexample of this would be daydreaming,something we all do at one time oranother and something which is perfectlynatural. In fact, not being able todaydream is much more likely to be acause for concern. Another instance ofbeing in an altered state of consciousnessis the time we spend sleeping – onaverage eight hours a night, one third of

our lives. Nobody can be hypnotisedwithout their consent and nobody can bemade to do something which conflictswith their values and beliefs.

So what is guided visualisation?Basically, it involves creating pictures inyour mind while following a script.Although the form of the “journey” iscontrolled by the script, the contentremains unpredictable. It is a means ofmoving what Carlos Castaneda (theanthropologist who became a sorcererafter being apprenticed to Don Juan inMexico) calls “the assemblage point” andof entering a state of non-ordinary reality.

Why use guided visualisation in theclassroom? Firstly, to introduce variety.The wider the choice of activities used,the more likely we are to hold thestudents’ attention and the more likelywe are to provide memorable experi-ences for the learners. Another goodreason for using the technique is that itallows the students to express theircreativity and uniqueness. Moreover, tokeep the brain in a wide-open, unfocusedstate and to facilitate learning, there mustbe relaxation and deflection of consciousattention to tasks other than the real goal.Guided visualisation is clearly a means ofachieving this.

Students with a high degree of spatial intelligence tend to think inpictures, are comfortable with maps, charts and diagrams, enjoy drawingand/or doodling, and are likely to make use of coloured markers. Visualproblem-solving devices such as spider diagrams, memory maps, and theuse of peripherals placed at or higher than eye-level will have a significantimpact on such learners.

Guided visualisation can also be used to good effect to cater for spatial intel-ligence in the classroom. Contrary to what you might expect, there isnothing new about the use of guided visualisation, guided fantasies,creative visualisation or “inner journeying” as it sometimes called. Infact, the technique can be traced back thousands of years to shamanicpractices in pagan times.

Psychological research indicates thatpeople become less inhibited in trance-like states, under hypnosis for example.The state induced in the case of guidedvisualisation is an extremely light trancebut the effect is the same on the learners,and the language they produce seems toflow more freely than usual. Anotheradvantage of inducing a trance state isthat stimuli can bypass our critical evalu-ation system and move directly into long-term memory storage.

Are there any dangers involved in usingguided visualisation in the classroomand how can they be avoided? Althoughthe majority of people have no difficultyin visualising, a small percentage willfind it a problem. However, even thesepeople can describe what they feel, hear,taste or smell on their journeys. It mayalso be argued that this is the kind ofactivity that learners either love or hateand it is consequently risky to use in theclassroom. This probably depends to alarge extent on the atmosphere theteacher succeeds in creating and how theactivity is introduced and presented. Ourstudents deserve to be treated withrespect, the same respect we wouldexpect from them. They are entitled toexplanations as to why we choose to usecertain techniques, the reasoning behindthe choices we make. Another possibledanger is that visualisations can unearthpersonal issues which cannot be dealtwith in the classroom is not the place todeal with. However, the likelihood of thishappening is very limited as the visuali-sations are controlled and directedtowards particular aims.

People are most receptive to right-braininsights when the body is

relaxed and the mind freefrom internal chatter.Moreover, brain researchconfirms that as stress

increases, the ability tolearn decreases ,so estab-

lishing the right kind ofatmosphere is clearlycrucial. It is suggested that

the scripts are read withmusical accompaniment to

help produce conditions conducive tooptimum learning. You can make use ofthe Baroque music that Dr Lozanov (aBulgarian psychotherapist in the 1970s)recommends for the Passive Concert inthe Suggestopedic cycle. This includesConcerti Grossi, op. 6, No. 4, 10, 11, 12 byCorelli and Five Concerti for Flute andChamber Orchestra (G Major, F Major, GMinor, C Major) by Vivaldi. The beat persecond paces the brain into a slowerfrequency alpha range of seven to elevencycles per second.

As a lead-in to each visualisation, youmight like to brainstorm the topic to findout how much the students alreadyknow – what they know about the LochNess Monster, for example. A certainamount of pre-teaching of new vocabu-lary might be necessary to ensure thesuccess of the activity. This clearlydepends on the level of the class. Analternative to conventional pre-teachingcould be to use the first stage of theSuggestopedic cycle. This would entailpreparing the classroom before thestudents arrive – with visuals related tothe topic on the walls, music associatedwith the theme playing on the cassetterecorder to greet the class, and realiaplaced on the floor or on a table in themiddle of the room. When the studentsenter the classroom, they can pick up therealia and start talking about it together.

As outer images tend to overwhelminner imagery, most people find it easierto visualise when sensory stimulation isreduced. That is why closing the eyes orwearing a blindfold is recommended.However, it is perfectly possible to learnto image with the eyes open if the partic-ipants feel more comfortable that way. Itis also advisable not to cross your legs orfold your arms while visualising so as toremain open to the process.

It should be pointed out that noteveryone will be willing to share theirexperiences with the group, especially ifthey are relatively new arrivals. If thisturns out to be the case, there is clearly nopoint in forcing them to do so. As afollow-up to the visualisation, the


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Unit 7: How To Cater For Spatial Intelligence

�� 135 ��

students can be invited to produce apiece of creative writing based on theirexperiences. Those members of the groupwho were reluctant to share theirjourneys with their classmates willprobably feel more at ease when it comesto writing about them and in this waythey will still have the opportunity totake part in the process.

Other forms of follow-up work couldinclude drawing, painting, dancing, orsinging. Galyean points out that“expressing and communicating areways of imprinting the information inour memories. It helps to follow imagerywork with a verbal and/or nonverbalmode of expressing what we’ve experi-enced”. Eric Jensen, in his book BrainBased Learning and Teaching (1995),makes the point that humans never reallycognitively understand or learnsomething until they can create apersonal metaphor or model. Using acreative visualisation to realise the topicin their imagination is one way ofachieving this.

A graceful way of guiding someone intoa trance state is by making use of transi-tional words like “as” or “when” –words which imply there is a meaningfulrelationship between two utterances orevents. Imagine, for example, you arereading a script and are interrupted bythe sound of a police siren wailing in thestreet outside. You could improvise andincorporate this into the script: “And asyou hear the sound of the siren wailing, ittakes you deeper and deeper into thetrance.”

Before writing a script, decide on yoursetting and then list the things you wouldsee, hear, feel, smell and taste in thelocation. The ideal script will include asmany different VAKOG elements aspossible – to cater for the visual, auditory,kinesthetic, olfactory and gustatorysensory modes. Everyone has a prefer-ence for a particular mode, and if youomit one, you could be leaving out theone someone really needs in order to beable to get the most out of the experience.

This is not the only reasonfor involving all the sensorymodes. As a result of recentlyacquired knowledge of howthe brain works, we now knowthat an experience with apowerful attachment toemotions or feelings is morelikely to be retained in thelong-term memory. Byinviting the learners to attune totheir feelings during visualisation, wecan ensure this has a better chance oftaking place.

Another point to remember is that affir-mations should be incorporated into thescript, both to help the participants torelax and to affirm the students’ ability tolearn the language easily and well. “Andwith each stroke of the oars through thewater, you feel more and more relaxed,”or “And now that you have completedyour journey, you can appreciate morethan ever how simple English is tounderstand”. The development of self-esteem and self-belief contribute to thephysical condition of relaxed alertnesswhich optimises learning and the use ofaffirmations can help to promote this.

If any of the students seem to be a bit“spaced out” after a guided visualisation,advise them to try stamping their feet onthe ground or to breathe out sharplythree or four times. Another technique isget them to close their eyes and pictureroots emerging from their feet, goingdeep into the earth. Always check tomake sure everyone has “come back”from the journey and is grounded beforemoving on, especially if it’s the end of theclass and anyone is driving home.

In the sample scripts for journeys, youwill find the following phrase: “You havea minute of clock time, equal to all thetime you need... .” It was coined by DrJean Houston, director of the Foundationfor Mind Research in New York. Duringan imagery exercise subjective time isexperienced. The brain processesmillions of images in microseconds, so inone sixty-second period you do have allthe time you need.

Education

Michael Berman is a teacher,

teacher-trainer, writer and

authority in the field of English Language

Teaching. With thirty years’ experience

of teaching and training both in the UK

and overseas, he has a wealth of

expertise in imparting his knowledge to

teachers everywhere.

Written and designed for teachers

of English as a second language,

this is a visually appealing,

thoroughly practical resource full of

exercises, activities, stories,

visualisations, puzzles and information

for immediate use in the classroom.

The book is organised into ten clearly

defined units: an introduction to

learning styles and the multiple

intelligences; a section on each of the

eight intelligences; and a final section

on teaching young learners. Each unit

provides exercises and advice for

teaching each intelligence type.

This book contains all that you need to

keep your students challenged and

learning in the style that suits them

best. Covering all essential areas of

English Language Teaching, A MultipleIntelligences Road To An ELTClassroom makes your teaching

accessible, compelling and FUN!

An extremely versatile book, it can also

be used as an activities resource for

teachers of English as a first language.

“Reading Michael Berman’s A MultipleIntelligences Road To An ELTClassroom helped me organise my

methodological thinking into a neat,

manageable system (“the SAFER

teaching method”) and made me look at

language exercises and activities from

an entirely new perspective. It enabled

me to apply in practice Gardner’s

Multiple Intelligences Theory in the ELT

classroom.”

— Rolf Palmberg, teacher and trainer,Åbo Akademi University, Vaasa, Finland.

“Refreshingly lucid and jargon-free. Its

emphasis is on the practical application

of MI theory and is full of immediately

useable and interesting classroom

activities, interleaved with thoughtful

and well-balanced analysis of the

rationale underpinning them, thus

encouraging ‘intelligent’ teacher use.”

— Christine Barker,freelance teacher/trainer.


Book design: Alex RoperCover design: simonma

MIELTcvr03.qxd 08/10/02 16:43 Page 1

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