AB rief Look At The Miniskirt � AC LIL Project

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A Brief Look At The Miniskirt – A CLIL Project

Steve Darn and Rob Ledbury

Teacher Development Unit, School of Foreign Languages, Izmir University of Economics

This is a description of one part of a project designed to build a bridge between content-based
subject teachers and language teachers working in the context of a private English-medium
university.

The institution, Izmir University of Economics, located on the Aegean coast of Turkey, is by no
means unique. Students in the various faculties of the university study on undergraduate and post
graduate programmes delivered in the medium of English. In order to gain entry to these
programmes, students must either demonstrate a pre-determined level of language competence
by passing a proficiency-style entrance examination, or, as is the case for some 1250 students per
year, embark on a one-year intensive preparatory language programme.

There are inevitable problems. For decades, the Turkish education system has seen English as a
pivotal subject in the curriculum. Successive attempts to teach English to a high level in the
space of one year, first at the age of eleven, then later between middle and high school, have
been, for the most part, unsuccessful, largely due to the inertia of an entrenched rote-learning
system, poor teacher training facilities, and norm-referenced testing. Hence, the majority of
students entering university are not yet capable of studying effectively in a foreign language.
Nevertheless, a ‘bilingual’ programme is a major marketing point for private institutions, and
preparatory schools within foreign language departments are expected to do the job that high
schools were unable to do.

The scenario outlined above has produced a gap between expectation and reality, with the
following components contributing to a widening chasm:

1. It is almost impossible to bring students from elementary level to a point at which they
can function academically in English in the space of a year, however intensive the
programme may be. Research shows that it takes 5 – 7 years in a quality bilingual
programme to achieve this, and that intensive learning may even be detrimental if
language acquisition is the underlying philosphy.
2. Language instructors are not aware of the subject specific language which students will
be expected to know, nor perhaps of the surrounding academic language, or the tasks that
students will be asked to perform using that language. Preparatory programmes tend to
consist of general English plus ESP, where ESP is defined as academic reading and
writing without a specific subject focus.
3. Faculty lecturers (subject teachers) are not aware of the task facing language teachers, nor
of the adjustments they need to make in order to compensate for the low standards of
language competence they are likely to face. Rather than confront the issue, the common
tactics are to carry on regardless, teach in the mother tongue, and to blame the language
teachers.
4. There is a lack of interdisciplinary communication.

This is where Content and Language Integrated Learning (CLIL) may play a role, providing that
the institution acknowledges the problem. CLIL has emerged as an umbrella term covering both
learning a language through a content-based subject and learning a content-based subject through
the medium of a foreign language. Whichever angle one comes from, interdisciplinary co-
operation, awareness-raising and training are prerequisites.
At Izmir University of Economics, the Teacher Development Unit has taken on the task of
providing subject teachers with the tools necessary to provide ongoing language support to
students unable to gain maximum benefit from studying in the English medium. This ‘toolkit’
has four components:

1. How to deal with vocabulary and lexis. This involves raising awareness of the subject
specific and academic vocabulary that students need and of existing tools such as the
Academic Word List which can assist in developing that knowledge. The lexical
approach is also shown to be a way of drawing learners’ attention to the set phrases,
expressions and collocations which they need to function efficiently.
2. How to make lectures and presentations more interactive. Here, ELT training
methodology is used to demonstrate how different styles of lecture can give students the
opportunity to assimilate and comprehend a large body of information.
3. Teacher and learner classroom language. Techniques for creating a learning environment
which is as close to ‘immersion’ as is feasible, and ways of selecting and grading
language by the teacher to make comprehension easier for the learners.
4. Dealing with texts. Reading remains the major learning and research skill in most
subjects. Subject teachers are made aware of the ways in which language teachers deal
with reading texts, the stages and tasks involved, and how this approach may be applied
to their own subject matter.

It is the last of these which is described in detail here. The training session involved a group of
instructors from the faculty of fashion and design. The participants had already been made aware
of the different types of lexis in a text, and had been introduced to the Academic Word List in a
previous session. The procedure was as follows:

Stage 1. Lead in through three pictures.

Brainstorm words and phrases – sixties, pop-art, geometric, colours, mini, pop groups. Tell
participants that they are going to read about some or all of these things.

Stage 2. Distribute text and picture matching task. Participants find names, words or phrases in
the text to match the pictures, compare findings in pairs or groups. (see Appendix 1)

Stage 3. Focus on the first paragraph of the text. Elicit examples of subject-specific vocabulary,
academic words and other useful lexis. Note that there may be some overlap between categories.

Subject specific vocabulary Academic words Other language
miniskirt credited above the knee(s)
hemline designer credited to
knee-level cited inspired by
fashion designer inspired cited as
Sci Fi invented disagreement as to

Stage 4. Participants work in groups to find similar examples from the remainder of the text
(one paragraph per group), recombine to share their findings. (see Appendix 2)

Show participants a highlighted version of the text showing the academic words. Compare with
their own lists. (see Appendix 3)

Stage 5. Introduce classic pre/while/post model for a reading lesson. Participants reflect on tasks
so far in light of the model and identify task-types and purposes from the following chart:

Pre-reading While-reading Post-reading
Purposes Purposes Purposes
Provide purpose Provide reason for reading Integrate with other skills
Stimulate interest Develop reading strategies and Check comprehension
Activate prior knowledge skills Deeper analysis of text
Add background knowledge Improve control of second Transferring skills to other
language texts
Tasks Tasks Tasks
Discuss author Meaning from context Discussion
Discuss text type Meaning from word structure Debate
Brainstorm topic Dictionary work Role play
Consider illustrations Finding key lexis Parallel writing
Consider titles, headings Predicting content Presentation
Listing expectations Confirming predictions Research project
Skimming for gist Reading for specific Listen to a lecture
Scanning for facts information
Analyzing reference words
‘Read and do’ tasks
True/False type questions
Note taking

Stage 6. Look at language. Remind participants about collocations and fixed/semi-fixed
expressions as lexical items. Reintroduce the Academic Word List and show how the
Nottingham University AWL site can produce a gap-fill exercise for consolidation purposes. (see
Appendix 4)
Stage 7. Ask what students will do with with this new lexis. Remind participants of ways of
storing vocabulary meaningfully based on the following underlying principles:

 Organised material is easier to learn.
 New words are more easily learned when is incorporated into language that is already
known.
 Word pairs can be used to learn a great number of words in a short time.
 Knowing a word entails much more than knowing its meaning.
 The words and phrases must be retrievable.
 Students have different learning styles.

Give examples of an organised vocabulary notebook page and a personalised thematic
vocabulary network. (see Appendix 5 and 6)

Stage 8. Summarise. Focus on follow-up activities – a project on a similar fashion item, a
different fashion era, parallel writing, a talk. Remaind participants of their role in providing
language support for studets, given the right tools.

Stage 9. Remind participants that texts taken from the Web often contain internal links to further
information and related subjects as well as pictures, suggestions forfurther reading and external
links. Students might be encouraged to broaden their knowledge by way of a Web-based
research project. (see Appendix 7)
Appendix 1. Match pictures to lexis in the text.

Find names/words/phrases in the text to go with the pictures

www.sixtiescity.com http://images.google.com/
Appendix 2. Complete text

The miniskirt is a skirt whose hemline is high above the knees (generally 200–300 mm
above knee-level). Its existence is generally credited to the fashion designer Mary Quant, who
was inspired by the Mini Cooper automobile, although André Courrèges is also often cited as
its inventor, and there is disagreement as to who invented it first. Some credit the Miniskirt to
Helen Rose who made some miniskirts for actress Anne Francis in the 1956 Sci Fi movie,
Forbidden Planet.
Recently, Marit Allen, a Vogue "Young Ideas" editor at the time, has stated John Bates, in
particular, has always been completely unappreciated for his contribution to the innovation
and creativity he brought to the London design scene." He bared the midriff, used transparent
vinyl and, Marit Allen asserts, was responsible for "the raising of the hemline. It was John
Bates, rather than Mary Quant or Courrèges, who was responsible for the miniskirt." Bates'
costumes and accessories for Diana Rigg in "The Avengers" define "Mod style."
Mary Quant ran a popular clothes shop on Chelsea, London's Kings Road called Bazaar, from
which she sold her own designs. In the late 1950s she began experimenting with shorter
skirts, which resulted in the miniskirt in 1960—one of the defining fashions of the decade.
Owing to Quant's position in the heart of fashionable "Swinging London", the miniskirt was
able to spread beyond a simple street fashion into a major international trend.
The miniskirt was further popularised by the French designer André Courrèges, who
developed it separately and incorporated it into his Mod look, for spring/summer 1965. His
miniskirts were less body-hugging, worn with the white "Courrèges boots" that became a
trademark. By introducing the miniskirt into the haute couture of the fashion industry,
Courrèges gave it a greater degree of respectability than might otherwise have been expected
of a street fashion.
In the United Kingdom, the increasing interest in the miniskirt in the 1960s necessitated a
change in the way skirts were taxed. Previously, skirts were taxed by length, with the
miniskirt qualifying as tax-exempt by effectively being a child's length.
The miniskirt was followed up in the mid-1960s by the even shorter micro skirt, which covers
not much more than the intimate parts with the underpants. It has often been derogatorily
referred to as a belt. Subsequently, the fashion industry largely returned to longer skirts such
as the midi and the maxi.http://en.wikipedia.org/wiki/Miniskirt
However, miniskirts remain popular. Miniskirts are also seen worn
over trousers or jeans, or with strap-on trouser "leggings" that provide coverage of each leg
from above the knee.

http://en.wikipedia.org/wiki/Miniskirt
Appendix 3. Highlighted Text

The miniskirt is a skirt whose hemline is high above the knees (generally 200 - 300 mm above
knee-level). Its existence is generally credited to the fashion designer Mary Quant, who was
inspired by the Mini Cooper automobile, although André Courrèges is also often cited as its
inventor, and there is disagreement as to who invented it first. Some credit the Miniskirt to Helen
Rose who made some miniskirts for actress Anne Francis in the 1956 Sci Fi movie, Forbidden
Planet.
Recently, Marit Allen, a Vogue "Young Ideas" editor at the time, has stated John Bates, in
particular, has always been completely unappreciated for his contribution to the innovation
and creativity he brought to the London design scene." He bared the midriff, used transparent
vinyl and, Marit Allen asserts, was responsible for "the raising of the hemline. It was John Bates,
rather than Mary Quant or Courrèges, who was responsible for the miniskirt." Bates' costumes
and accessories for Diana Rigg in "The Avengers" define "Mod style."
Mary Quant ran a popular clothes shop on Chelsea, London's Kings Road called Bazaar, from
which she sold her own designs. In the late 1950s she began experimenting with shorter skirts,
which resulted in the miniskirt in 1960%97one of the defining fashions of the decade.
Owing to Quant's position in the heart of fashionable "Swinging London", the miniskirt was able
to spread beyond a simple street fashion into a major international trend.
The miniskirt was further popularised by the French designer André Courrèges, who developed
it separately and incorporated it into his Mod look, for spring/summer 1965. His miniskirts
were less body-hugging, worn with the white "Courrèges boots" that became a trademark. By
introducing the miniskirt into the haute couture of the fashion industry, Courrèges gave it a
greater degree of respectability than might otherwise have been expected of a street fashion.
In the United Kingdom, the increasing interest in the miniskirt in the 1960s necessitated a change
in the way skirts were taxed. Previously, skirts were taxed by length, with the miniskirt
qualifying as tax-exempt by effectively being a child's length.
The miniskirt was followed up in the mid-1960s by the even shorter micro skirt, which covers
not much more than the intimate parts with the underpants. It has often been derogatorily
referred to as a belt. Subsequently, the fashion industry largely returned to longer skirts such as
the midi and the maxi. However, miniskirts remain popular. Miniskirts are also seen worn over
trousers or jeans, or with strap-on trouser "leggings" that provide coverage of each leg from
above the knee.

http://www.nottingham.ac.uk/~alzsh3/acvocab/awlhighlighter.htm
Appendix 4. Gap-Fill Text

The miniskirt is a skirt whose hemline is high above the knees (generally 200-300 mm above
knee-level). Its existence is generally to the fashion Mary Quant, who
was inspired by the Mini Cooper automobile, although André Courrèges is also often
as its inventor, and there is disagreement as to who invented it first. Some credit the
Miniskirt to Helen Rose who made some miniskirts for actress Anne Francis in the 1956 Sci Fi
movie, Forbidden Planet.
Recently, Marit Allen, a Vogue "Young Ideas" at the time, has stated John Bates, in
particular, has always been completely for his to the and
he brought to the London scene." He bared the midriff, used transparent
vinyl and, Marit Allen asserts, was responsible for "the raising of the hemline. It was John Bates,
rather than Mary Quant or Courrèges, who was responsible for the miniskirt." Bates' costumes
and accessories for Diana Rigg in "The Avengers" "Mod ."
Mary Quant ran a popular clothes shop on Chelsea, London's Kings Road called Bazaar, from
which she sold her own . In the late 1950s she began experimenting with shorter
skirts, which resulted in the miniskirt in 1960%97one of the fashions of the
.
Owing to Quant's position in the heart of fashionable "Swinging London", the miniskirt was able
to spread beyond a simple street fashion into a international .
The miniskirt was further popularised by the French André Courrèges, who
developed it separately and it into his Mod look, for spring/summer 1965. His
miniskirts were less body-hugging, worn with the white "Courrèges boots" that became a
trademark. By introducing the miniskirt into the haute couture of the fashion industry, Courrèges
gave it a greater degree of respectability than might otherwise have been expected of a street
fashion.
In the United Kingdom, the increasing interest in the miniskirt in the 1960s necessitated a change
in the way skirts were taxed. , skirts were taxed by length, with the miniskirt
qualifying as tax-exempt by effectively being a child's length.
The miniskirt was followed up in the mid-1960s by the even shorter micro skirt, which covers
not much more than the intimate parts with the underpants. It has often been derogatorily
referred to as a belt. , the fashion industry largely returned to longer skirts such as
the midi and the maxi. However, miniskirts remain popular. Miniskirts are also seen worn over
trousers or jeans, or with strap-on trouser "leggings" that provide coverage of each leg from
above the knee.

The following words will fill the gaps:
cited contribution creativity credited decade define defining design
designer designer designs editor incorporated innovation major previously
revealing style subsequently trend unappreciated

http://www.nottingham.ac.uk/~alzsh3/acvocab/awlgapmaker.htm
Appendix 5. Vocabulary Notebook Page

word part of other forms meaning my notes (sentences,
speech collocations, phrases
etc.)
1 necessitate v (un)necessary to make necessary the miniskirt in the
necessity (n) -ate 1960s necessitated a
change in the way
skirts were taxed
2 popularise v (un)popular to make popular The miniskirt was
popularity (n) -ise popularised by the
French designer André
Courrèges
3 innovation n innovate new idea
-or

4 the scene n (sing) the way of life in a the London design
particular area of scene
activity the fashion scene
the political scene in
Turkey
5 credit to v to say sb has done The miniskirt is
sth well generally credited to
Mary Quant
6 contribution v

7 trend n a major international
trend
8 creativity n

9 revealing adj

10 define v

11 incorporated adj included

12 subsequently adv opp. peviously

1. These words are from Fashion Trends 1960s – lecture 2 Background Text 1 (Miniskirts)
2. Copy the information into your vocabulary notebook
3. Add more information and examples of your own
Appendix 6. Personalised Vocabulary Network
Appendix 7. Interactive Text

The miniskirt is a skirt with a hemline well above the knees (generally 20cm or more above
knee level). Its existence is generally credited to the fashion designer Mary Quant, who was
inspired by the Mini Cooper automobile, although the French designer André Courrèges is also
often cited as its inventor, and there is disagreement on who invented it first. Some credit the
Miniskirt to Helen Rose who made some miniskirts for actress Anne Francis in the 1956 Sci Fi
movie, Forbidden Planet. [1]
Recently, Marit Allen, a Vogue "Young Ideas" editor at the time, has stated that "John Bates, in
particular, has always been completely unappreciated for his contribution to the innovation and
creativity he brought to the London design scene." He bared the midriff, used transparent vinyl
and, Marit Allen asserts, was responsible for "the raising of the hemline. It was John Bates,
rather than Mary Quant or Courrèges, who was responsible for the miniskirt." Bates' costumes
and accessories for Diana Rigg in The Avengers define "Mod style." [2].
Mary Quant ran a popular clothes shop on Chelsea, London's Kings Road called Bazaar, from
which she sold her own designs. In the late 1950s she began experimenting with shorter skirts,
which resulted in the miniskirt in 1965—one of the defining fashions of the decade.
Owing to Quant's position in the heart of fashionable "Swinging London", the miniskirt was able
to spread beyond a simple street fashion into a major international trend.
The miniskirt was further popularised by André Courrèges, who developed it separately and
incorporated it into his Mod look, for spring/summer 1965. His miniskirts were less body-
hugging, worn with the white "Courrèges boots" that became a trademark. By introducing the
miniskirt into the haute couture of the fashion industry, Courrèges gave it a greater degree of
respectability than might otherwise have been expected of a street fashion.
The miniskirt was followed up in the mid-1960s by the even shorter micro skirt, which covers
not much more than the intimate parts with the underpants. It has often been derogatorily
referred to as a belt. Subsequently, the fashion industry largely returned to longer skirts such as
the midi and the maxi. However, miniskirts remain popular. Miniskirts are also seen worn over
trousers or jeans, or with strap-on trouser "leggings" that provide coverage of each leg from
above the knee.

External links
 Philosophy of miniskirt
http://en.wikipedia.org/wiki/Miniskirt

Information on CLIL in the classroom

British Council/BBC - www.teachingenglish.org.uk/think/methodology/
Comenius Project TL2L - http://www.tl2l.nl/
European Centre for Modern Languages - www.ecml.at
Forum for Across the Curriculum Teaching - http://www.factworld.info/
Getting Started in CLIL (PowerPoint) - www.factworld.info/clil.ppt
Norwich Institute for Language Education - www.nile-elt.com
Science Across the Curriculum - www.scienceacross.org
Tips and Materials - www.onestopenglish.com/business/bank/clil/index.htm

Two short radio programmes are available from the BBC:
http://www.teachingenglish.org.uk/download/radio/innovations/innovations.shtml