Tribute to the 17th United Nations Chinese Language Day
Portrait of Confucius
On the 17th United Nations Chinese Language Day we celebrate the timeless charm of Chinese characters a carrier of thousands of years of Eastern wisdom poetry and cultural heritage
Five years ago during the 12th UN Chinese Language Day one of the three core thematic lectures selected by the United Nations “The Mysterious Dongba Hieroglyphs” was solemnly held at our Dongba Culture Academy My respected master the 17th-generation Grand Dongba Priest Aheng Dongta appeared on the front page of the official United Nations website As a wise man of the Naxi people and the soul inheritor of Dongba culture he brought the world’s only living pictographic script to the global stage letting the wisdom of Dongba culture and the brilliance of Eastern civilization shine on the international stage
Dongba hieroglyphs are the living fossil of Naxi civilization a cultural code spanning millennia and a spiritual bridge connecting the past and present and linking civilizations As the sole female inheritor and international communicator of the Dongba culture of the UNESCO Memory of the World I will always stay true to my mission as a cultural messenger delving into the translation and research of Dongba ancient books to let this precious human cultural heritage revitalize in the new era Taking language as a bond I will promote dialogue and mutual learning among different civilizations injecting oriental energy into world peace and cultural prosperity
“Scene from “Midsummer Night’s Dream” by The Joffrey Ballet. (Photo: Cheryl Mann)”
Midsummer Night’s Dream
The Joffrey Ballet
Zellerbach Theater
Berkeley, California
Midsummer Madness
“We had this beautiful summer house in the Swedish countryside. My favorite thing was to run in the field in front of the house and pick seven different flowers to put them under my pillow. Tradition says that if you put these flowers under your pillow before you go to bed, you will dream of your future love.”—Anna von Hausswolff
When you go to see a performance titled “Midsummer Night’s Dream,” even when warned ahead of time it will be set in the pale summer night of Sweden, you can be forgiven for expecting a dependably Shakespearian outing, though this time with maybe a Scandinavian Oberon and Titania and a regiment of local gnomes, a confusion of misguided romantics bounding through an Arctic midnight forest, and maybe a donkey-headed Svenska Bottom and his rude mechanicals defying the stagy and the stage-struck and a teasing trickster of a northern Puck declaring while displaying to all the world: “What fools these mortals be!”
And you might even be forgiven if, in the opening moments of the performance, you feel slightly disappointed that, no, this is not quite what you are about to be graced with this chilly spring evening.
But then, if you have always loved a surprise, especially when it is packaged as a bonbon and then explodes into a party, your expectations are turned on their head and go leaping in cartwheels across the stage, as if the whole theater had been turned into a circus expressly for your entertainment, and you find yourself with little alternative but to let yourself be blissfully carried away for the rest of the enchanted evening. There are a lot worse disappointments! And it’s easy enough to imagine Puck roaring with laughter up his gossamer sleeve.
Such, anyway, was this viewer’s experience when Cal Performances brought The Joffrey Ballet to the Zellerbach Theater on the UC Berkeley campus over a weekend this April. I’m still sorting out all the chaos of revelries that made it one of the most memorable evenings of a season that has had, frankly, a lot of competition.
The dance was divided into two parts, the first running a little under, the second a little over an hour, but who’s counting? The proof of any wonder is how fast it seems to fill any pocket of time with riches, and yet how brief it all seems in the end.
The first half opens, with deceptive minimalism, with a buffed up young man (a fine Dylan Gutierrez, who served as our point of contact for the evening; it’s his dream, after all, that we’re sharing) as he tries, unsuccessfully, to go to sleep in the glaring Scandinavian midsummer night. His bed stands in front of the stage curtain on which random sayings are projected, immediately dissolving: “Pick some strawberries!” “Meet me in the meadow,” “Sven is drunk,” “I prefer Christmas,” “Do you still love me?” . . .
A graceful young woman (the excellent Victoria Jaiani, who will be our main point of romance for the evening) bearing a sheaf of hay, dances down the aisle and up to the stage, waking the young man and then whisking him away through a crack in the curtain, which opens up to a wild, choppy confusion of dozens of dancers thrashing and dashing and flailing across a stage blanketed with golden hay like a vast field at the height of harvest season. From here on, we are far from the forest of Arden, but never far from magic.
The first act unfolds as a kind of bacchantic fertility rite, a revelry of farm workers dancing and playing, not only in, but with the hay, at the foot of a tall, mask-like pagan symbol, integrating a cross, an arrow, and two eye-like wreaths, erected above them.
The dancing workers whisk about, flail and harvest and roll the hay up into tub-like bundles which as used as little stages for couples dancing for love and delight, and they finally cast it all back into a long, luxurious play on the eternal idea of a sweetly innocent roll in the hay, quite literally.
A long table is then rolled out, and the hay is swept gaily off the stage, and the host of workers gather and celebrate the harvest in a traditional banquet. A solitary singer (the magical Anna von Hausswolff, who will appear at especially mysterious and lyrical moments) comes out and sings of the peace and joy of the long festival of summer in these cold and northern climes.
Then the revelry resumes, leading up to a long, strange, mysterious moment, when all the dancers, arranged in an almost intimidating phalanx stretching from end to end of the stage, approach the edge and, wreathed in enigmatic smiles, stare at the audience as if waiting for us to . . . do what?
There was nervous laughter, nervous applause, a little bout of rhythmic clapping, tense silence, and childlike wonder at what it all meant, as the dancers gazed silent as the midsummer sun on the puzzled mortals beneath them, then, just as mysteriously, dissolved back into seemingly random reveling.
The first act ended with one of the evening’s most magical moments, as the dancers moved up and down the long banquet table, bearing candelabras, until they stepped down to and across the darkened stage, off the stage, into the audience and up the aisles, with candelabras still aloft, until they froze, staring at the audience with mad charm.
The first half had many such marvels of enchantment. But it provided nothing to prepare us for what we would see in the second: a fever earthquake, tidal wave of inventions without end, technique without boundaries, a pagan unleashing in a teeming, ecstatic nightmare – for what would a dance about a dream be without the challenge of a nightmare? And everybody rose to meet it, conquered, and conquered again and again for the rest of a dream no one wanted, honestly, to wake from.
Because when was a nightmare ever more turbulent, tumultuous, tumacious, titillating, terrifying fun? Not only did the choreography raise its game to undreamed of heights, and the dancers follow, ever braver and more victorious than the last, but so did the set, the lighting, the props; nor forget the brilliance of music and musicians, never left behind, indeed often leading, including, later, in a soft passage after the seemingly endless rolling frieze of thrills of the opening, the already mentioned singer, who capped many a manic moment with a soft, still climax.
Did I forget the humor? Unforgivable! Because this was a production that, in its deeply romantic and pagan heart, knows how to laugh, out of pure high spirits and unshackled joy. I will mention only the giant Max Ernst fishes landing at unexpected moments or parading enormously across the boards, and the gleeful gigglers prancing in the odd corner at the odd moment, and the tutu-refined would-be swanners undermined in their earnest pliés by the gleeful gigglers and snarky bystanders, and the dueling immaculately haberdashed duo of headless gentlemen (Edson Barbarosa and Aaron Reneteria) bouncing around the stage with arms flailing and trading slaps at each other’s invisible heads, and the half-naked chef (danced with elegant insouciance by Fernando Duarte) parading around en pointe and buff-butted for much of the act in a chef’s hat and apron – and nothing else, my friend. He was, no doubt, a stand-in for the chef of this spectacular banquet of a production, the choreographer (and set designer) Alexander Ekman, as fine a magician of dance and stage as, I believe after this evening, we now have among us.
The music, a heady combination of contemporary and classical, pop, experimental and traditional Swedish folk music, and played live by a sextet of strings, piano and percussion, was by Michael Karlsson. The ingenious lighting design was originally created by Linus Fellbrom and re-created, not least the ribbons of lights hanging above the audience in the image of a circus tent, for the Zellerbach performance by Chris Maravich.
I think the fairies of Arden would have mightily approved.
_____
Christopher Bernard is an award-winning poet, novelist, playwright, and essayist. His most recent book is the poetry collection The Beauty of Matter: A Pagan’s Verses for a Mystic Idler.
First, some announcements. Tao Yucheng invites the winners of the poetry contest he hosted earlier this year to contact him at taoyucheng921129@proton.me. He’ll send out the prize money this month. He also announces that no one person won the Honorable Mention (there was a tie among multiple pieces) so he will automatically enter those pieces in the next competition, which will be at a yet-to-be-determined date this summer.
Also, contributor Mykyta Ryzhykh has a new book out, Tombboy, from Lost Telegram Press.
“In his book, as in books of poems written in poetic forms and free verse, language moves through a pattern, and the basic organizing unit is the line. In tombboy, the line may be a syllable, a sign, an image, or even a dot… Readers may rightfully assume that many, even all the poems in tombboy are anti-war poems… yet it would be inaccurate to infer these concrete poems are doctrinaire, or purely political. Nor are they autobiographical. But they are personal, intuitive, original, and memorable, each with something to show…” – Peter Mladinic, author of House Sitting, Knives on the Table and many other books
“tombboy is filled with an experimental spirit, combining fearless phrasing with satirical madness. The result is a fascinating examination of the human condition… it seems there are no limits to his masterful creativity. Each page of this book will grab your attention. tombboy deserves a prominent spot on your bookshelf.” – Roberta Beach Jacobson, editor of Five Fleas Itchy Poetry and smols poetry journal
Welcome to Synchronized Chaos’ mid-April issue: A Chorus at the Threshold. This issue presents a chorus of voices singing, speaking, sometimes whispering, at different types of thresholds. People of different ages and backgrounds come together in this issue, each sharing thoughts, observations, and feelings at points of shifting and transformation.
Some of these thresholds are deeply interior. Adalat Gafarov Izzet oglu’s poetry is contemplative and reverent, with a focus on spirituality and the search for meaning. John Edward Culp speaks to self-discovery, love, and finding one’s own rhythm in life. Duane Vorhees’ poetry forms a cohesive meditation on struggle, distance, and the human effort to bridge impossible gaps—whether spiritual, emotional, or existential. Mesfakus Salahin’s piece highlights self-exploration in times of solitude, as Maja Milojkovic laments the increasing unwanted loneliness caused by the setup of much of modern life. Mahbub Alam probes the highs and lows and capacities of human nature, highlighting the need for empathy and compassion. Prasanna Kumar Dalai’s poetry is romantic and melancholic, expressing deep emotions and longing. Poet and physician Anwer Ghani suggests that despite our attempts to conceal our emotions, they can still be sensed and felt.
J.J. Campbell’s writing touches on his inner shadows: feelings of isolation, the desire for a simple, authentic life, and the pain of his loneliness and inner demons. Ana May likewise writes from the doorway between suffering and transformation, insisting that pain must be faced if it is ever to yield meaning. Fhen M.’s eerie poem recollects the legend of G. Bragolin’s Crying Boy painting surviving house fires, meditating on trauma and memory. Thi Lan Anh Tran depicts the complex, multilayered social and psychological effects of both romantic love and war. Amina Kasim Muhammad’s poem illuminates how people rebuild after the loss of a loved one, growing around rather than overcoming grief. In David Sapp’s vignettes and Eva Lianou Petropoulou’s scenes of personal and public tragedy, ordinary life itself becomes a threshold where loss is transfigured through memory and grief into reverence.
Other voices gather at the threshold between childhood and adulthood. Yeon Myeong-ji and Hamdamova Dilzodaxon Halimjon qizi craft scenes of family love, care, and loss. Their work, and Jacques Fleury’s return to his father and their childhood treehouse, all stand in that tender doorway between then and now. Sarvinoz Bakhtiyorova depicts the impact of remembering one’s past and how that can shape one’s identity. Here, affection survives distance and the past remains startlingly alive.
Nature, too, shifts throughout this issue, with pieces about seasons and the liminal spaces between dreams and reality. In Stephen Jarrell Williams’s idyllic vision, the act of learning to fly becomes an awakening into another mode of being. Elaine Murray’s visionary reflections on natural landscapes, Charos Ismoilova’s gratitude for the sunrise, Ananya Guha’s pensive thoughts on seasonal time, Graciela Noemi Villaverde’s vision of a world where humans protect and care for the natural world, Joseph Ogbonna’s song to a nightingale, and Brian Barbeito’s dream journey scenes of birds, constellations, and moonlight all invite us to the threshold between the visible and the unseen. Sayani Mukherjee’s luminous piece on the sacred mystery of existence completes this movement, reminding us that existence itself is a continual process of change.
History and heritage form another vital threshold in these pages—the place where inheritance meets the present moment. Dr. Jihane El Feghali’s tribute to Lebanon, radiant with resilience and memory, stands beside Ilya Ganpantsura’s portrait of Pushkin, writing in a nation poised between autocracy and intellectual freedom. Abdulaxilova Sevara’s meditation on Yusuf and Zulayha reveals divine and human love, earthly devotion blended with spiritual transcendence. Eva Lianou Petropoulou shares the tale of miraculous holy fire burning the day before Easter in Jerusalem’s Church of the Holy Sepulchre. Lan Xin acknowledges the shared humanity and commonalities within the heritage of the world’s people, finding harmony within global religious teachings, and Bhagirath Chowdhary echoes that sentiment in his poem. Mohizoda Xurshiq qizi Roziqova discusses Uzbekistan’s legacy of teacher-apprentice training in the trades as Shokhida Nazirova highlights the Uzbek government’s investment in youth education, athletics, and personal development. The works rooted in Uzbek heritage further remind us that culture survives through crossings: hand to hand, teacher to student, voice to voice.
The chorus also rises at the threshold leading to justice.
Sim Wooki confronts racism and colonial power, while Patricia Doyne and Manik Chakraborty write from the brink where historical violence and oppression not only cast a shadow upon the present, but continues to this day. Alan Catlin and Stephen House stand at the moral threshold of witness, asking what it means to remain human before scenes of suffering, ecological damage, and collective harm. These are works that refuse the comfort of distance. They ask us not merely to observe, but to consider the ethics of paying attention.
Jernail S. Anand looks at compassion, care and the consequences of individual actions. Mykyta Ryzhykh highlights the dissonance between our ideals of gentleness and innocence and abusive human behavior that falls short of these ideals. Asalbonu Otamurodova’s reflections on boundaries offer another kind of threshold: the necessary line where care for others must meet care for the self.
Art itself becomes another form of threshold, creating space for various ideas and sensibilities to meet and overlap. Noah Berlatsky considers how even a weathered, broken artwork can convey meaning, how the breakage can become part of the work. Doug Hawley and Bill Tope’s joint short story humorously compares an ordinary couple with historically famous idealized sculptures of people, finding in favor of the average, imperfect, but real, married couple. To’lquinay Ubukulova points out creative people’s current dependence on technology of various sorts. Jerrice J. Baptiste’s poems and paintings of women highlight their individuality, strength of character, and connection to the natural world. Juraeva Aziza Rakhmatovna interviews Croatian writer and poet Ankica Anchia, illuminating her love for her nation and birthplace as creative inspiration.
Ummusalma Nasir Mukhtar celebrates the power of writers to move society forward through their creativity, as Bill Tope explores his personal literary motivations. Ri Hossain analyzes themes in his own poetry, highlighting his combination of materialism and surrealism and how he renders urban realities through free verse. Gionni Valentin’s fragmented thoughts, images, and reflections explore themes of creativity, self-discovery, and the human condition. Kandy Fontaine describes post-Beat poetics, defined by inclusivity, community, focus on embodied and lived experience with living writers, and rejection of hierarchies and trophies. Patrick Sweeney’s tiny poetic fragments touch on art, identity, nature, history, and relationships. Joshua Martin’s poems combine lexical debris, media fragments, bureaucratic residue, and historical ruin, while Mark Young’s fragmented transmissions emerge from different frequencies of reality.
What binds these many works is not sameness, but shared arrival. Each piece stands at some edge—of understanding, of memory, of identity, of survival—and from that edge it calls out. The result is a true chorus: not a single melody, but many voices meeting in resonance.
Chorus at the Threshold sums up this collection because every page invites crossing. Between sorrow and wonder. Between history and dream. Between the self we have been and the self we are still becoming. Yet, many of these doors remain open, so that the thoughts and impressions in one “room” carry forward along one’s journey or can be remembered.
May you enter these pages with openness, attentiveness, and the quiet recognition that something in you may emerge changed.
Myths are public dreams. Dreams are private myths.
-Joseph Campbell
Watery Winter Field
there was a man on a boat a while back that looked like a person I used to know long before. and, much later, a woman sitting by a window with her husband in an eatery that looked like my kind and departed aunt. there was another man standing that strongly resembled my high school Latin teacher. This person looked like that person. I remembered that I read somewhere Joseph Campbell said or wrote that over thirty, everyone can kind of reminded you of someone else. Campbell was saying it neutrally. I found it sad for some reason.
The funny thing to me was that though I look as different than Joseph Campbell as much as anything,- I started to notice that he reminded me of someone. I couldn’t place it at first. Then I realized he looked and spoke like my maternal grandfather. If someone said, ‘These two are brothers,’ there is nobody that would question that.
I was soon in a field and wore the wrong shoes. Though it was saturated with water in most parts,- I somehow managed not to get too wet. But there was no hawk or anything of much interest. Hmm,- I thought, ~There is simply nothing going on.~ I wished that it was an old summer, or a new one, or any summer, if it had flowers and the warm earth, some verdant scenes, and blue skies. I could even be riding a horse somewhere, and at that place there would be tree branches providing moments of shade, a respite from the sun when it became too bright.
And the branches that cast shadows would be so interesting as they looked like the arms of forest creatures benevolent gesturing, so animated as they were having great conversations about the history of the woodlands whimsical and wild but maybe even,- who is to say?- loquacious talk about the history of the whole world? I thought briefly of a soul that reminded me of the beauty of the moon. The moon does not have cheekbones or beautiful dark eyes, clean long hair that shines, so this makes no sense,- but- the soul’s energetic countenance reminded one of the good senses of the moon. and I thought that in the far past, when I stood on a sand shore by the sea and the dusk dimmed the world, that it was interesting to experience that.
I remembered a dream but didn’t understand the meaning. Inside the dream a person sat to my left. I knew them a very little bit in the dream. I did not recognize them at all from real life. I guessed something about them correctly.
‘I am making the guess that you are a Libra.’
‘I am.’
‘Wow. I guessed right.’
‘Yes. How did you know?’
‘I don’t know how I knew. But it’s pretty good because if there are ten signs it would be a ten percent chance at guessing correctly. Since there are twelve signs, the chance of guessing is less than ten percent.’
I didn’t dislike Libras. or really like them. I wondered why it couldn’t be a Leo or Aries, or even Virgo. something like that. Libra? Libra didn’t mean much to me. I would have to think about the dream. Something about fairness and balance?-or justice?- I didn’t know. I put my right hand in real life,- while pausing in the watery winter field, on the back of my neck. to help prevent a headache. my neck was cold. I was tired. Looking around whilst I did this, I did see a bird atop a tree. I don’t know what kind of bird it was, but it was looking at me. It remained still. I liked this bird. A loner bird. I looked on. It looked on. then I began my way back home at least having seen something.
(DOB 07/06/1973) is a passionate Indian Author-cum- bilingual poet while a tremendous Asst Professor of English by profession in the Ganjam district of Odisha. He is an accomplished source of inspiration for young generation of India. His free verse on Romantic and melancholic poems appreciated by everyone. He belongs to a small typical village Nandiagada of Ganjam District,the state of Odisha.After schooling he studied intermediate and Graduated in Kabisurjya Baladev vigyan Mahavidyalaya then M A in English from Berhampur University PhD in language and literature and D. Litt from Colombian poetic house from South America.
He promotes his specific writings around the world literature and trades with multiple stems that are related to current issues based on his observation and experiences that needs urgent attention. He is an award-winning writer who has achieved various laurels from the circle of writing worldwide. His free verse poems not only inspire young readers but also the ready of current time. His poetic symbol is right now inspiring others, some of which are appreciated by laurels of India and across the world. Many of his poems been translated in different Indian languages and got global appreciation. Lots of well wishes for his upcoming writings and success in future.
He is an award-winning poet author of many best seller books. Recently he was awarded Rabindra nath Tagore and Gujarat Sahitya Academy for the year 2022 from Motivational Strips. Jaidev Puraskar from Kavita Minar Badamba Cuttack A gold medal from world union of poets France & winner Of Rahim Karims world literary prize 2023.The government of Odisha Higher Education Department appointed him as a president to Governing body of Padmashree Dr Ghanashyam Mishra Sanskrit Degree College, Kabisurjyanagar. Winner of ” HYPERPOEM ” GUNIESS WORLD RECORD 2023.Recently he was awarded at the SABDA literary Festival at Assam. Highest literary honour from Peru contributing world literature 2024.Prestigious Cesar Vellejo award 2024 & Highest literary honour from Peru. Director at Samrat Educational charitable Trust Berhampur, Ganjam Odisha.
Vicedomini of the World Union of Poets, Italy. UHE awarded him the prestigious Golden Eagle award for his contributions to world literature in 2025.
Completed 257 epistolary poems with American poet Kristy Raines.
Bharat Seva Ratna National award 2025, International Glory award from Manam Foundation Hyderabad Telengana. On the eve of the 1979 Independence Day celebration he earned the Rashtra Ratna award & Maa Bharati Seva Sammana. In 2025 he received a doctorate in Humanity and Literature from Theophany University in Haiti with UNESCO, AEADO and the leaders of Autonomy International. The Prince of Crimea and the Golden Horde from the House of Genghis Khan gave him the prestigious title of “Honorary Bey.”
Received Sahitya Ratnakar from New Delhi 2025, Honorary Doctorate from RMF University collaborated with east and west university Florida United States of America on the eve of International Peace Day. Prestigious THE CONDOR OF ANDES from UHE Mexico 2025. PRESTIGIOUS DOCTORATE from VICTORIA UNIVERSITY OF CULTURE AND WORLD PEACE 2025. Nominated for Padmashree 2025. Three-time Gold from the world Union of Poets France. Doctorate from Theophany university Haiti contribution for the world literature 2025. SAHITYA RATNAKAR from New Delhi. Dr. Mayadhar Mansigh Saraswat Samman 2025. Doctorate in Gandhian Philosophy, Peace and Humanity 2025.
Doctorate from Victoria University for Peace 2026. UHE of Peru appointed him as a World Ambassador for Peace and Justice 2026.Valiant of the Nation Award 2026 on the eve of the 129th birthday commemoration for Subash Chandra Bose.
INTERNATIONAL BOOKS
1.Psalm of the Soul 2. Rise of New Dawn 3. Secret Of Torment 4. Everything I Never Told You. 5.Vision Of Life National Library Kolkata 6.100 Shadows of Dream 7. Timeless Anguish 8. Voice of Silence 9.I Cross my Heart from East to West and epistolary poetry with Kristy Raines, published in USA.
INTEGRATING MULTIMEDIA IN ENGLISH LANGUAGE TEACHING FOR YOUNG LEARNERS: ENHANCING ENGAGEMENT AND ACQUISITION
Tillayeva Muslimaxon Yashnarjon qizi
2nd-year master’s student, “English Language and Literature” program, Faculty of Foreign Languages
Uzbekistan National Pedagogical University named after Nizami
Abstract: This study is devoted to examining the effectiveness of multimedia tools in teaching English to young learners. By integrating videos, animations, digital games, and audio-visual materials into the learning process, the research analyzes how students’ interest increases and their level of knowledge acquisition improves. The article particularly emphasizes the role of multimedia tools in developing listening comprehension, speaking, and perception skills.
Keywords: multimedia tools, English language teaching, young learners, audio-visual materials, language skills, interactive learnin
Annotatsiya: Ushbu tadqiqot yosh o‘quvchilarga ingliz tilini o‘qitishda multimedia vositalarining samaradorligini o‘rganishga bag‘ishlangan. Dars jarayoniga video, animatsiya, raqamli o‘yinlar hamda audio-vizual materiallarni integratsiya qilish orqali o‘quvchilarning qiziqishi ortishi, bilimlarni o‘zlashtirish darajasi yaxshilanishi tahlil qilinadi. Maqolada multimedia vositalarining tinglab tushunish, gapirish va idrok etish ko‘nikmalarini rivojlantirishdagi o‘rni alohida ta’kidlanadi.
Kalit so‘zlar: multimedia vositalari, ingliz tilini o‘qitish, yosh o‘quvchilar, audio-vizual materiallar, til ko‘nikmalari, interaktiv ta’lim
Aннотация: Данное исследование посвящено изучению эффективности мультимедийных средств в обучении английскому языку младших школьников. Путём интеграции видео, анимаций, цифровых игр и аудиовизуальных материалов в учебный процесс анализируется повышение интереса учащихся и улучшение уровня усвоения знаний. В статье особо подчеркивается роль мультимедийных средств в развитии навыков аудирования, говорения и восприятия.
Ключевые слова: мультимедийные средства, обучение английскому языку, младшие школьники, аудиовизуальные материалы, языковые навыки, интерактивное обучение
INTRODUCTION
The globalized world places a significant emphasis on English language proficiency, making early language education a critical area of focus. Young learners, typically aged 6-12, possess unique cognitive characteristics, including a high capacity for language acquisition, but also require highly engaging and context-rich learning environments to sustain their interest and facilitate effective learning. Traditional English language teaching (ELT) methods, often reliant on textbooks and rote memorization, frequently fall short in meeting these needs, leading to decreased motivation and limited retention among young learners.
In recent decades, the rapid advancement and ubiquitous presence of technology have opened new avenues for educational innovation. Multimedia, encompassing a wide array of digital resources such as videos, audio clips, interactive games, animations, and educational software, offers a dynamic and multisensory approach to language instruction. These tools have the potential to transform passive learning into an active, immersive, and enjoyable experience, which is particularly beneficial for young learners who thrive on visual and auditory stimuli and interactive activities. However, despite the acknowledged potential, there remains a need for empirical research that systematically investigates the specific effects of multimedia integration on various aspects of English language acquisition and learner engagement within the context of early childhood education.
This study aims to address this research gap by exploring the effectiveness of integrating multimedia tools into ELT for young learners. Specifically, it seeks to determine the extent to which multimedia-enhanced instruction impacts vocabulary acquisition, pronunciation skills, and overall student engagement compared to conventional teaching methods. The primary objectives are to: (1) assess the improvement in vocabulary knowledge and pronunciation accuracy among young learners exposed to multimedia; (2) evaluate the level of student engagement and motivation in multimedia-integrated classrooms; and (3) provide practical insights and recommendations for educators on effectively utilizing multimedia in early ELT curricula. By achieving these objectives, this research endeavors to contribute to evidence-based pedagogical practices that optimize language learning outcomes for young learners.
LITERATURE REVIEW
The integration of multimedia tools in English language teaching (ELT) for young learners has gained increasing attention in recent decades, driven by rapid technological advancements and the growing need for engaging, learner-centered approaches. Multimedia, which includes audio, video, animations, and interactive digital platforms, plays a significant role in enhancing language acquisition among children.
According to Richard Mayer, multimedia learning is more effective when words and images are combined rather than presented separately. His Cognitive Theory of Multimedia Learning emphasizes that learners process information through dual channels—visual and auditory—which enhances understanding and retention. This theory provides a strong foundation for using multimedia tools in language classrooms, especially for young learners who benefit from visual and interactive content.
Research by Lev Vygotsky highlights the importance of social interaction and scaffolding in children’s learning. Multimedia tools, such as interactive games and collaborative platforms, support this concept by allowing learners to engage actively with content and peers. These tools create opportunities for guided learning within the Zone of Proximal Development, thereby improving language skills.
Similarly, Stephen Krashen’s Input Hypothesis suggests that language acquisition occurs when learners are exposed to comprehensible input slightly above their current level. Multimedia resources, such as videos, songs, and animated stories, provide rich and meaningful input that can be adjusted to learners’ proficiency levels, making language learning more accessible and enjoyable.
Several empirical studies have demonstrated the effectiveness of multimedia integration in ELT. For instance, digital storytelling has been found to improve vocabulary acquisition and listening skills among young learners. Interactive applications and educational games also increase motivation and engagement, which are crucial factors in early language learning. Furthermore, multimedia tools cater to different learning styles, including visual, auditory, and kinesthetic preferences.
However, some researchers point out challenges related to the use of multimedia in classrooms. These include limited access to technology, lack of teacher training, and potential overreliance on digital tools. As noted by Neil Selwyn, effective integration of technology requires careful planning and pedagogical alignment rather than mere use of digital devices.
In conclusion, the literature indicates that multimedia tools significantly enhance English language teaching for young learners by making lessons more interactive, engaging, and effective. Nevertheless, successful implementation depends on teachers’ ability to integrate these tools meaningfully within the curriculum.
RESEARCH METHODOLOGY
This study employed a quasi-experimental research design to investigate the impact of multimedia integration on English language learning among young learners. The participants comprised 60 primary school students, aged 7-8 years, enrolled in the second grade of a public school in a suburban area. These students were randomly assigned to either an experimental group (n=30) or a control group (n=30) to minimize pre-existing differences. Both groups had similar baseline English proficiency levels, confirmed by an initial diagnostic test.
The experimental group received English language instruction integrated with various multimedia tools over a period of ten weeks, with three 45-minute sessions per week. The multimedia resources included animated educational videos, interactive vocabulary games, digital storybooks with embedded audio, pronunciation apps, and songs. These tools were strategically chosen to align with the curriculum topics (e.g., animals, colors, daily routines) and to provide visual, auditory, and interactive learning experiences. Teachers in the experimental group received specific training on how to effectively incorporate these multimedia tools into their lesson plans, focusing on interactive engagement rather than passive consumption. The control group received instruction on the same curriculum topics and for the same duration, but through traditional methods, primarily relying on textbooks, flashcards, and teacher-led drills without digital multimedia components.
Data were collected using a combination of quantitative and qualitative instruments. Quantitative data included: (1) Pre- and post-tests: Standardized tests were administered before and after the intervention period to measure vocabulary acquisition and pronunciation accuracy. The vocabulary test consisted of 30 multiple-choice and matching items, while pronunciation was assessed through a recorded reading task evaluated by two independent raters using a 5-point rubric. (2) Observation checklists: Teachers and a research assistant used structured checklists during lessons to record student engagement behaviors (e.g., active participation, attentiveness, enthusiasm) in both groups. Qualitative data included: (1) Student surveys: A simplified questionnaire with Likert-scale items and open-ended questions was administered to the experimental group to gather feedback on their perceptions of multimedia tools and their learning experience. (2) Teacher interviews: Semi-structured interviews were conducted with teachers from both groups to gain insights into their experiences, challenges, and observations regarding student learning and motivation.
ANALYSIS AND RESULTS
Quantitative data from the pre- and post-tests were analyzed using paired-samples t-tests to compare within-group improvements and independent-samples t-tests to compare the mean differences between the experimental and control groups. Observation checklist data were analyzed using descriptive statistics. Qualitative data from student surveys and teacher interviews were subjected to thematic analysis, identifying recurring patterns and key themes related to engagement, motivation, and perceived learning effectiveness. All statistical analyses were performed using SPSS software, with a significance level set at p < 0.05.
The analysis of the collected data revealed significant differences in language acquisition and learner engagement between the experimental and control groups. The quantitative results from the pre- and post-tests demonstrated a marked improvement in the experimental group’s performance.
For vocabulary acquisition, the experimental group showed a substantial increase in post-test scores compared to their pre-test scores (mean pre-test = 12.5, SD = 2.1; mean post-test = 23.8, SD = 1.9; t(29) = 18.2, p < 0.001). In contrast, the control group exhibited a smaller, though statistically significant, improvement (mean pre-test = 12.3, SD = 2.0; mean post-test = 16.7, SD = 2.3; t(29) = 8.9, p < 0.001). An independent-samples t-test comparing the post-test scores between the two groups revealed a statistically significant difference (t(58) = 13.5, p < 0.001), with the experimental group outperforming the control group by an average of 7.1 points. This indicates that multimedia integration significantly enhanced vocabulary retention and understanding.
Similarly, pronunciation accuracy, assessed by independent raters, improved considerably in the experimental group. The average score on the pronunciation rubric for the experimental group increased from 2.8 (SD = 0.5) in the pre-test to 4.2 (SD = 0.4) in the post-test (t(29) = 15.1, p < 0.001). The control group’s average scores moved from 2.7 (SD = 0.5) to 3.1 (SD = 0.6) (t(29) = 4.8, p < 0.001). The independent-samples t-test on post-test scores confirmed a significant difference between groups (t(58) = 8.9, p < 0.001), with the experimental group demonstrating superior pronunciation skills.
Qualitative data from observation checklists and student surveys consistently highlighted higher levels of engagement and motivation in the experimental group. Observation checklists indicated that students in the multimedia-integrated lessons were more attentive (95% of observed sessions vs. 65% in control), participated more actively in tasks (88% vs. 55%), and displayed greater enthusiasm and enjoyment (92% vs. 40%). Student survey responses from the experimental group were overwhelmingly positive. For instance, 97% of students agreed or strongly agreed that learning English with videos and games was fun, and 93% felt that multimedia helped them understand and remember new words better. Themes emerging from open-ended survey questions and teacher interviews included increased interest, reduced boredom, and a perception of learning as a playful activity. Teachers in the experimental group reported that students were more eager to come to English class and often continued discussing topics or playing related games outside of class hours. Conversely, teachers in the control group noted occasional disengagement and a more passive learning stance among their students.
The findings of this study provide compelling evidence that integrating multimedia tools into English language teaching for young learners significantly enhances both language acquisition and learner engagement. The superior performance of the experimental group in vocabulary acquisition and pronunciation accuracy aligns with existing literature emphasizing the benefits of multisensory learning experiences. Multimedia resources, by providing visual cues, auditory input, and interactive elements, cater to diverse learning styles and facilitate deeper cognitive processing, which is crucial for young learners who are still developing abstract thinking skills.
The substantial improvement in vocabulary retention can be attributed to the contextual richness and repeated exposure offered by multimedia. Animated videos and interactive games often present new words within meaningful scenarios, making them more memorable than isolated word lists. This echoes theories of situated learning, where knowledge is best acquired within authentic contexts. Similarly, the enhanced pronunciation accuracy observed in the experimental group can be linked to the immediate and clear auditory models provided by native speaker recordings in videos and audio stories, coupled with opportunities for repetition and self-correction through interactive apps. This direct exposure to authentic pronunciation helps young learners develop accurate phonological awareness from an early age.
Beyond academic gains, the study’s qualitative findings regarding heightened engagement and motivation are particularly noteworthy. Young learners are intrinsically driven by curiosity and play. Multimedia tools, with their inherent entertainment value and interactive nature, tap into these natural inclinations, transforming the learning process into an enjoyable and less intimidating experience. The increased attentiveness, active participation, and enthusiasm observed in the experimental group suggest that multimedia can effectively combat boredom and foster a positive attitude towards language learning, which is a critical predictor of long-term success. This aligns with motivational theories that highlight the importance of novelty, challenge, and perceived competence in fostering intrinsic motivation.
While the results are promising, it is important to acknowledge certain limitations. The study was conducted with a relatively small sample size in a specific school context, which may limit the generalizability of the findings to other populations or educational settings. The duration of the intervention was ten weeks; a longer intervention period might reveal even more profound and sustained effects. Furthermore, the effectiveness of multimedia integration is heavily dependent on the quality of the resources and the teacher’s pedagogical skill in facilitating their use. Future research could explore the long-term impact of multimedia integration on communicative competence, investigate different types of multimedia tools, and examine the role of teacher training in maximizing the benefits of technology in early ELT. Despite these limitations, this study strongly supports the strategic integration of multimedia as a powerful and effective pedagogical approach in teaching English to young learners.
CONCLUSION
This study conclusively demonstrates the significant positive impact of integrating multimedia tools into English language teaching for young learners. The experimental group, exposed to multimedia-enhanced instruction, showed statistically significant improvements in both vocabulary acquisition and pronunciation accuracy compared to the control group, which received traditional instruction. These quantitative gains were complemented by qualitative evidence of substantially increased student engagement, motivation, and a more positive disposition towards learning English. Multimedia resources, including interactive videos, educational games, and audio stories, proved highly effective in creating a dynamic, multisensory, and enjoyable learning environment that catered to the unique needs and learning styles of young children.
The findings underscore the importance of moving beyond conventional teaching paradigms and embracing technological advancements to optimize early language education. By leveraging the power of multimedia, educators can transform potentially monotonous lessons into captivating experiences that foster active participation and deeper understanding. This research provides a strong empirical basis for advocating the systematic integration of appropriate multimedia tools into primary school English language curricula.
For future work, it is recommended that studies investigate the long-term effects of multimedia integration on sustained language proficiency and cross-cultural understanding. Further research could also explore the optimal balance between multimedia and traditional teaching methods, the impact of different multimedia platforms, and the development of comprehensive teacher training programs to ensure effective and pedagogically sound implementation of technology in the classroom. Ultimately, fostering a rich, interactive, and engaging learning environment through multimedia integration holds immense potential for nurturing a generation of confident and proficient young English language speakers.
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I vaguely remember that day—I don’t even know why I can’t recall it clearly. Maybe I was too young?
One evening, we were all sitting together having dinner when our neighbor, Soliha aunt, suddenly came by. I didn’t really understand why she had come. After a short while, she quietly left without saying much. When we finished eating, we said a prayer, and then my younger sister took the dishes to the kitchen to wash them. My father went into the living room to watch television.
At that moment, without telling anyone, I went into my room and started reading my book. I don’t even remember how I fell asleep.
At dawn, half-asleep, I heard my mother and father performing the Fajr prayer. After finishing, they began whispering to each other. No matter how hard I tried, I couldn’t hear what they were saying. After sunrise, I ran to my mother.
“What are you doing?” I asked with a smile.
“Can’t you see? I’m cleaning the house,” she replied. Then she looked at me and said, “We have a gift for you.”
“Oh, Mom, but it’s not my birthday,” I said, laughing.
“My dear daughter, are gifts only given on birthdays? They can be given at any time,” she said.
“That’s great! What kind of gift?” I asked excitedly.
“You’ll find out in the evening. Now go and finish your tasks and read your books,” she said.
I finished all my chores and waited impatiently for the evening.
Finally, evening came. After washing my hands and face, I went to my bed—and there she was, my dear grandmother, sitting beside it. I was so happy that I hugged her tightly. Maybe I hugged her too hard, but I couldn’t help it—I loved my grandmother so much.
I loved sleeping next to my grandmother in the evenings because every time she came, she would tell me wonderful and fascinating stories. The stories she told would come alive right before my eyes.
“Grandma, may I ask you something?” I said.
“What is it?” she replied.
“Grandma, what was your school like? Please tell me.”
“Oh, my curious granddaughter,” she said, “I will tell you, but you must not interrupt me, alright?”
“Okay,” I agreed.
“Our school didn’t have the conditions and facilities that you have today. There were many children in our family, and our parents could barely afford enough for us to eat. My dear granddaughter, you have great opportunities for studying. Don’t waste your time on meaningless games. Study while you can, learn as much as possible, so that you won’t regret it later. If you study, many doors of opportunity will open for you—never forget that.”
“Grandma, I will do as you say. I will study and learn,” I replied.
