Short story from Bill Tope

The Gauntlet

The whoop, whoop, whoop of the police siren died to a guttural moan as Anais pulled her Kia to the curb just inside the small Ohio town of Springfield, within striking distance of Dayton. She peeped into the rearview mirror and spied a policeman alighting from the cruiser and striding her way. What now? she thought. She was driving down Rivers Road, a virtual gauntlet of police speed traps, according to her husband.

The policeman rapped with his knuckles on her window and so Anais lowered the glass pane. “Yessir?” she asked.

“Driver’s license, registration and proof of insurance,” said the cop dully.

Anais turned and fished through her glovebox and purse and eventually turned up the requested documents. She passed them through the window to the policeman, who accepted them without a word. Anais, a recent Haitian refugee, had never been accosted by law enforcement in this country. But, she had heard stories. She didn’t know what to expect, but remembered what her grandmother, who’d raised her, always said: “Hope for the best but prepare for the worst. Do whatever they say,” she’d cautioned. Anais waited.

The 19-year-old woman turned her head and noted that the policeman was staring intently at her, through the harsh beam of a huge flashlight. She couldn’t make out his features. Did he suspect she harbored drugs, because her skin was brown and she dressed differently from others? Unable so far to buy native apparel, she was still clad in a vibrant, red and blue chambray Karabela dress.

“Get out of the vehicle,” directed the cop, taking a step back to allow Anais to open her door. She silently complied. Out on the pavement, she stood by the car, uncertain and forlorn. Where was her grandmother when she needed her? She glanced at the western sky; the sun had already slipped below the horizon. It was quite dark now. The road at this hour was little travelled and not a vehicle had passed since she was stopped. She felt very vulnerable.

“Do you have any illegal drugs, contraband or weapons in your car or on your person?” he asked next.

She shook her head no.

“Do you speak American?” asked the cop impatiently.

Anais blinked. “I speak the English,” she told him in her thick accent.

He grunted.

“Why did you stop me?” asked Anais nervously.

Ignoring her question, the cop handed back the documents she’d passed him before and said, “Do you have citizenship papers?”

Anais nodded. “I have the green card,” she said.

“Let’s see it,” grumbled the cop, extending his tiny hand.

Anais gave it to him. He drifted back to his cruiser, engaged the radio for a few minutes and then returned and handed the document back.

“What’re you doing on the roads at this hour?” queried the cop.

Anais glanced at her cell phone: it was almost 9pm.

“I’m on my way home–from the grocery store,” she said. She began to feel some dark misgivings about the way this interrogation was proceeding.

Now the cop directed his large flashlight again into Anais’s face and after a moment, said, “turn around, put your hands against the vehicle, take a step back,” he ordered. She did.

At just that moment, another police can rolled up and parked behind the first. Men got out of both doors. Their boots scunched over the gravel on the side of the road. The first cop withdrew and met them halfway to his vehicle. They talked in hushed tones. That left Anais standing awkwardly against her car.

Anais looked up as the men exchanged a bawdy laugh. Were they talking about her? she wondered. Anais was a newlywed and she longed for the comfort of her partner, to hear his voice and feel his arms around her, but the policeman had seized her phone.

Finally, the first cop tromped loudly to her car and roughly patted her down and then, without warning, seized one arm and pulled it behind her back. Handcuffs clicked into place over her wrist. He took her other arm and secured that wrist as well. What was happening? she thought wildly, as the cop opened her back door and pushed her through and face down onto the bench seat in the rear of the Kia. Now the other two cops approached and stood staring down at her supine figure, chucking malevolently. They likewise had flashlights.

“Not bad,” murmured one of the newcomers, “for a greasball.” They all laughed.

“Got a nice ass for a spic,” opined the third racist cop,” reaching in and groping Anais’s backside and running his fingers between her legs.

She whimpered and struggled fruitlessly against her bonds.

“So,” said the first cop. “Who wants to do her first?” he asked the others conversationally.

One of the cops said, “Maybe we should do dinner first. You said she’s from Haiti. What’s your pleasure, senorita, a dog or a cat?” They laughed yet again. The burning essence of marijuana now wafted through the air.

Anais thought hard, then suddenly spoke out. “I saw your face,” she rasped desperately.

The three men grew silent as statues.

“I thought she didn’t see you,” whispered another of the three.

“She didn’t,” said the first cop. “I never gave her my name or showed her a badge or nothin’. I used my flashlight, like the last time. She’s lyin’.”

“But, what if she ain’t,” said another voice.

“Then you’ll have to kill me,” Anais spoke out. “Or go to jail for kidnapping and rape. I’m a married woman,” said Anais with sudden rage. “And my husband owns a big gun. You’ll be shot, if you touch me again,” she shouted. “You release me now, and I’ll forget about the touching and the disrespect. You decide now. You got five seconds to decide.”

In a matter of only a few seconds, the handcuffs were opened and Anais was freed. The other two cops hurried off to their car and sped away. The first cop snatched the keys from Anais’s ignition and tossed them and her cell phone into the weeds a few feet away and loped to his vehicle and likewise took off. She could hear the tires burning rubber.

Finding her keys, Anais stumbled back to her car and was soon motoring home, shaking and crying as she drove. She lived only minutes away. The only thing she saw when she entered the small house was Michael.

He said, in his rich, soft baritone, “Carino. I was worried about you.”

She fell into his warm embrance and immediately told him of her narrow escape at the hands of the rogue policemen. After she’d completed her narrative, Michael gently grasped her shoulders and said, “Did you really see his face?”

Anais had the grace to blush. “No, Michael. The flashlight was in my face the whole time.”

Then he said, “Anais, I don’t even own a gun.”

She smiled up into his face. “No, but you would’ve gotten one,” she whispered with confidence.

Poetry from Eva Petropoulou Lianou

Light-skinned middle-aged European woman with long straight brown hair and blue eyes standing on a beach by a lake on a sunny day with trees and people behind her.

Miracles 

Miracles happens everywhere… everyday..

Just take the moment to understand and communicate with people….not fanatics… not close minded..

Miracles happens 

I have seen one in my younger age

Miracles are the people who are close enough to understand what is your purpose and your character and will Push you to achieve your dreams 

Miracles happens 

Miracle is your faith and your ability to maintain the Light in the darkness 

Miracles are everywhere 

Don’t confuse technology with faith 

Don’t worry about the fake..rich life..of a man who never tried in his life

Miracle is your inner soul to stay intact from evil attack 

Poetry from Sayani Mukherjee

God’s hands

A blue sky of tattered past

Of sublime wishes and never ending past

A poetic reverie of past sense

Of diamonds and opal linen sky

A two pence watch to sell for

The night sky of ever changing wishes

Of topaz and blueness at this hour

I surmise my clock to send for

God’s hands in my prayers

Of what ifs and crestfallen goodbyes

As if the sky was ablaze with midnight memories.

Synchronized Chaos Magazine Mid-October Issue: Learning from History

La Fenetre de Paris announces a submission opportunity for poets. Poetry anthology Water: The Source of Life seeks submissions

Contributor Taylor Dibbert seeks reviewers for his new poetry book On the Rocks. Please email us at synchchaos@gmail.com if you’re interested.

Also, we will stop accepting submissions for November’s first issue on October 25th. You may still submit after that date, but your work will go into our second issue for the month.

Large sunlit medieval stained glass greenhouse with green plants and chairs and a piano.
Image c/o Rostislav Kralik

Now, for this month’s second issue, Learning From History.

Sayani Mukherjee muses on the rise and fall of the Roman Empire.

Kelly Moyer’s film, created together with Hunter Sauvage and starring Robert P. Moyer and Annie, draws on ancient myth to understand the United States’ modern political situation. Abigail George analyzes the strengths and weaknesses of certain leadership styles illustrated by Donald Trump and several African leaders. Patricia Doyne speaks to the hubris of American political leadership. Andrew Brindle and Christina Chin’s tan-rengas explore society’s injustices and contradictions.

Old library warmed by incandescent lamplight with multiple floors of books.
Image c/o Petr Kratochvil

Ivan Pozzoni’s poetry declares his speaker’s independence of mind as an artist and offers critiques of government funds’ being taken from ordinary taxpayers to bail out large banks. Bill Tope’s short story celebrates the power of understanding and empathy for people at all social levels. Poet Eva Petropoulou Lianou interviews poet Til Kumari Sharma about the importance of gender equality, humanity and empathy, and living with solid morals. Til Kumari Sharma reviews Brenda Mohammed’s poetry collection Break the Silence, about ending drug addiction, domestic violence, and human trafficking. Nordona Norqulova describes strategies world governments use to combat terrorism. Til Kumari Sharma also expresses her hope for a world where women, children, and everyone is treated with respect.

Patrick Sweeney’s one-line senryus decenter the author as head of the universe. Mark Young contributes a fresh set of altered geographies. Baskin Cooper describes encounters slightly mysterious and askance. Christopher Bernard describes the frenzied, ghostly glamour of Cal Performances’ recent production of Red Carpet.

Brian Barbeito reflects on the wonder and spiritual curiosity he finds in natural landscapes. Su Yun’s collection of poetry from Chinese elementary school students reflects care for and admiration of the natural world and also a sense of whimsy and curiosity. Stephen Jarrell Williams’ short poems depict an escape from overcrowded cities back into nature. Vaxabdjonova Zarnigor discusses the chemical composition of chia seeds and their nutritional value. Nidia Garcia celebrates the natural environment and urges people to plant trees. Madina Abdisalomova reminds us that environmental care and stewardship is everyone’s responsibility.

Primeval jungle painting with dragonfly, sun and clouds, small trees and large green ferns.
Image c/o Martina Stokow

Mahbub Alam extols the beauty of morning and nature in his Bangladeshi home. Jonathan Butcher’s poetry explores the different rooms in which we make our lives and the stories they could tell about us. J.T. Whitehead shows how external cleaning can parallel interior personal development. Srijani Dutta discusses her personal spiritual journey in prayer to the divine of at least a few faiths.

Alexandros Stamatoulakis announces his new novel The Lonely Warrior: In the Wings of the Condor, about a man discovering himself in the midst of a tumultuous modern environment. Chris Butler’s wry poetry explores long-lasting, but hopefully not implacable, truisms of the human condition. Ana Glendza speaks to the fear and insecurities that come with being human. Kavi Nielsen speaks to the experience of loneliness and rejection.

Noah Berlatsky satirizes faux-human tech support and our efforts to understand our whole world through technology. Timothee Bordenave outlines innovative ways to improve electricity transmission as Abdurofiyeva Taxmina Avazovna discusses treatments for cataracts.

Old fashioned sepia toned photograph of a laboratory. Beakers, bottles of substances, and open books.
Image c/o Petr Kratochvil

Zarifaxon O’rinboyeva’s short story presents a woman overcoming poverty and grief to become a physician. Doug Hawley reflects on the ups and downs of summer jobs. Turdiyeva Guloyim’s poetic essay shares a complex emotional tapestry of childhood village memories. Rahmataliyeva Aidakhon highlights the importance of grasping folktales to understanding Uzbek heritage and culture. Madina Azamjon highlights the literary importance of Hamid Olimjon’s writing and how he drew on Uzbek folk culture for inspiration. Gulsanam Qurbonova extols the linguistic and cultural education she has received at her university. Ermatova Dilorom Bakhodirjonova explains the intertwined nature of Uzbek language and culture and the need to preserve both.

Mukhammadjonova Ugiloy celebrates her school and the sports and student leadership education she received there. Choriyeva Oynur outlines benefits of integrating technology into education. Abdirashidova Ozoda outlines the importance of encouraging and fostering creativity for preschool students. Nilufar Mo’ydinova discusses ways to encourage second language acquisition at an early age.

Anila Bukhari’s poetry celebrates the creative spirit surviving amid poverty and oppression. Taro Hokkyo’s prose poem details his protagonist’s escape from emotional and spiritual darkness to rise to the heights of creativity. Alan Catlin’s barman odyssey explores the roots of creative inspiration.

Emran Emon speaks to the recent Nobel Prize award for world literature and the value of writing. Abdusalimova Zukhraxon outlines strategies for teaching the Uzbek language to foreign students. Abdusaidova Jasmina Quvondiqovna shares some of her art and expresses her pride in her native Uzbekistan. Jumanazarova Munojot Elmurod qizi suggests ways to help young children learn to tell time. Qurbonova Madinaxon discusses the importance of games and play in children’s education. Hayotkhon Shermatova outlines issues with Uzbekistan’s educational system and how to address them. Azamova Kumushoy illustrates the importance of teaching language students how to analyze literary texts.

Classical statue of a woman with curly hair, blue waves, white chunks of veined marble for a crown, and sailing ships in the distance.
Image c/o Kai Stachowiak

Duane Vorhees revels in erotic sensuality and the learnedness of ancient history. Perwaiz Shaharyar’s poem, translated to English and Italian by Maria Miraglia, celebrates the beauty of the positive aspects of many cultures’ concept of the feminine.

Ismoilova Gulmira celebrates the strength, thoughtfulness, creativity and resilience of Uzbek girls and young women. Abduqahhorova Gulhayo’s poem takes joy in the grace and kindness of young Uzbek girls. Svetlana Rostova finds beauty in everything, even ugliness, loss, and death.

Graciela Noemi Villaverde praises the creative insight of her dance teacher. Saparov Akbar outlines his personal quests and passions and his desire to educate himself and elevate his life. Mesfakus Salahin’s poetry celebrates the artistic inspiration that can come from romantic love.

J.J. Campbell details his middle-aged, disillusioned quest for love or maybe just a little break from reality. Donia Sahib speaks to spiritual and earthly love. Teresa Nocetti’s poem urges a loved one to invite her into their life. Eva Petropoulou Lianou shares a tale of lovers in search for one another.

Mural of a person's hand from behind bars in a brick wall chained to a dove and a red flower.
Image c/o Guy Percival

Graciela Irene Rossetti’s poetry revels in tender gentleness. Mirta Liliana Ramirez expresses the pain of being shamed for who she is. Rezauddin Stalin speaks to partings and farewells. Umida Hamroyeva expresses her love and longing for a departed person.

Ahmed Miqdad speaks of the forgotten sufferings of ordinary people in Gaza. Fiza Amir’s poetry evokes the many personal losses and griefs of wartime. Jacques Fleury reviews Joy Behar’s play My First Ex-Husband, which explores marital and relationship issues in a way that is relatable for many people, married or single.

Mykyta Ryzhykh presents a protagonist who explores alternatives and then revels in his ordinary humanity. H. Mar. shares the joy of day-to-day human companionship.

We hope this issue provides artistic, emotional, and intellectual companionship to you as you peruse the various contributions.

Christopher Bernard Reviews UC Berkeley’s Cal Performances’ Production of Red Carpet

Golden chandelier above a stage with a red curtain and people in suits and ball gowns dancing in front of an orchestra with instruments.

The Grotesqueness of Glamour, the Glamour of the Grotesque

Red Carpet

Paris Opera Ballet

Berkeley, California

Reviewed by Christopher Bernard

Cal Performances brought the legendary Paris Opera Ballet to University of California, Berkeley’s Zellerbach Theater over a sunny weekend this October to give the North American premiere of Hofesh Shechter’s new dance, Red Carpet.

The historic company, one of the world’s most celebrated (and the subject, some years ago, of a remarkable documentary by the almost equally legendary filmmaker Frederick Wiseman), traveled from its home at the Beaux Arts Palais Garnier to the modern concrete Zellerbach in a work that combines, mocks, plays with, celebrates, satirizes, and at moments transcends, the poles of an aesthetic whose tension keeps the arts alive: as Schecter says in the program notes, “between glamour and the grotesque.”

Red Carpet is a frieze of a little over a dozen vignettes complexly choreographed on a polymorphous, dimly lit space in a crowd of cohering and crashing styles. We begin in a timeless ballroom dominated by a magnificent chandelier lit by a blaze of artificial candles (a handful sometimes broken and unlit, in vulnerability and decay), beneath which—as it periodically descends to the floor, in full glory, or goes dark, withdrawing into its own ghostly shadow—more than a dozen dancers in a motley array of outfits, from an eye-catching core—a woman in a superbly glittering, blood-red ballgown and others sheathed in glitter-shouldered white—to weaving epicycles of strutters in the post-punk gear of an underground dance club, writhe and strut and wind and defy, as on any modern red carpet surrounded by an audience of obsessed fans, cynical press, and professional gawkers, to the grinding beat of a four-musician band hitting above its weight and whose pounding is layered, when the band falls silent, with the fluting whoosh of an electronically generated sound of perpetual wind.

There’s indeed as much grandeur here as glamour, and an always fascinating grotesqueness (as someone once put it, ugliness is its own aesthetic category, a kind of small change of the sublime).

Each section pits multiple styles against each other—from strained classical elegance to muscular modern, from the industrial synced in brutal competition to violent pop at the edge of disillusion and fury—in little troops of the mass dominating the piece.

There were only two extended solos, brilliant takes on a wild male chaos driven crazy in the dance of modern life, by Takeru Coste and a mohawked Loup Marcault-Deroud, in the performance I saw. And three quarters the way through, a quintet in sudden white dances against an ox-blood red curtain, suggesting the naked human form beneath the jungle of self-representative fashion hitherto on display, on stage as in human life.

Curiously, the representation of nakedness is often used to represent a kind of authenticity and purity that clothing supposedly hides. Yet here it had the opposite effect for this viewer: it is precisely clothing, makeup, style—the marks of individual choice and taste—that express the individual more directly than the body alone can ever do; the body merely bare, like the skeleton, is anonymous, a ghost, almost a nothing. It seems, if anything, less truthful, less communicative, than the elaborations of personal design. Nakedness, like sexuality, has the paradoxical effect of destroying the individual.

Red Carpet is an exhilarating experience, with many stunning moments and memorable gestures—a hammering of fist on fist in a forest of ecstatic writhing, a disco mass pointing skyward, an old-school butter-churn at one moment, at another an indrawn intensity apparently unaware and uncaring of being seen. Above all the deliberate density of movement, the obscurity and obscuring, of each dancer’s actions, like a fugue so densely worked out you can’t possibly follow any individual voice, or like the rituals of certain religions that are seen by parishioners behind a screen so their exact character is never certain, only their importance to the parishioners’ salvation.

And yet I came away with the frustrating sense it could have been even better than it was. It is such a fine piece, brilliantly danced by the company, yet it missed that perfect sense of rightness that the greatest dances, even those expressly aiming to express chaos, can provide.

Too much of the inventiveness in the piece is front-loaded, giving it little space to grow into later. In the final third, there was a feeling of exhausted inspiration, of repetitiveness, even of silliness (the quintet aforementioned quickly devolves into a series of pantomimes that, for this viewer, were both too obvious and too disconnected from the rest of the piece). And the ending of the piece was strangely unsatisfying; the world may or may not end in a whimper, but this dance, alas, does.

Nevertheless, what I remember most vividly is the grand ball of a crowd endlessly diverse in style, approach, movement, and form that, seemingly despite itself, combined in a strange rightness that was as moving as it was exciting: like a great abstract painting in motion, at those moments (and there were many) everything fell into place. Or like a living, moving forest that Shechter himself evokes: “[Choreographing a dance] is like being in a forest. . . . I continue to explore. I haven’t left the forest.”

Red Carpet was created by the Paris Opera Ballet’s multi-talented Shechter along more dimensions than usual: he also designed the atmospheric set and wrote the unrelenting music, which was performed by Yaron Engler (who also collaborated on the music) on drums, Olivier Koundouno on cello, Marguerite Cox on double bass, and Brice Perda on an array of wind instruments. The moody lighting was by Tom Viser. It frustrated some members of the audience, as they loudly proclaimed in the lobby afterward—but not this one: straining to see what was going on, as suggested above, seemed part of the point, though the point was sometimes over-drawn. But I’m a bit of a sucker for ghostly effects, so I have few complaints.


_____

Christopher Bernard is the author of The Socialist’s Garden of Verses, which won a PEN Oakland Josephine Miles Award and was named one of the “Top 100 Indie Books of 2021” by Kirkus Reviews.

Poetry from Kavi Nielsen

this is for all of you
I mistook your hazy smiles for friendship.


how was I supposed to know you just wanted to run? I thought you were a mind-reader,
a savior,
a person who understood the deadly-slow inside-out gnawing
my heart’s being subjected to-


but now I realize
you’re just a breath, a moment, a memory I’ll touch on when I’m lonely
you were there once, twice, a flash, a fleeting breath, a whisper in the dark


but now you’re gone like the sun at night and I should’ve known
we’re all alone again

Essay from Nilufar Mo’ydinova

Young Central Asian woman with dark hair, a coat, suit, and black tie.

Interactive Methods for Increasing Preschool Children’s Interest in Learning the German Language

Abstract

The article analyzes the role and significance of interactive methods in developing preschool children’s interest in learning the German language. The effectiveness of methods such as games, songs, drawings, multimedia tools, and interactive activities in early language learning is scientifically substantiated. In addition, the paper outlines ways to develop children’s communicative skills through the use of modern educational technologies.

Keywords: German language, preschool education, interactive method, motivation, game technology, early language learning.

INTRODUCTION

In today’s era of globalization, teaching foreign languages from an early age has become one of the strategic priorities of every national education system. Learning foreign languages, particularly German, at an early stage develops children’s intellectual potential, broadens their worldview, and nurtures respect for the culture of other nations. The Law of the Republic of Uzbekistan “On Preschool and School Education” and the “New Uzbekistan – Development Strategy 2030” set forth the task of gradually introducing foreign language teaching into the preschool education system.

Language learning at an early age is considered a natural process. Between the ages of 3 and 6, a child’s speech apparatus, auditory perception, phonemic hearing, and communicative ability are actively developing. During this period, a child can easily acquire not only their native language but also foreign languages. Therefore, to enhance the effectiveness of teaching German in preschool institutions, educators are required to make wide use of interactive methods.

Interactive methods ensure that children actively participate in the learning process, think independently, and enjoy the process of learning. Such an approach strengthens intrinsic motivation, sparks interest in language learning, and develops communication skills.

Therefore, this article explores interactive methods for increasing preschool children’s interest in learning German, their theoretical foundations, and practical application possibilities.

MAIN PART

1. Theoretical foundations of early foreign language learning

Language is one of the most important indicators of human thinking, and learning it at an early age lays the foundation not only for linguistic but also for cognitive development. Psychologists such as L. S. Vygotsky, J. Piaget, and E. Lenneberg have scientifically proven that children’s ability to acquire languages is most active between the ages of 2 and 6. During this stage, children tend to learn through play, songs, movement, and visualization.

Hence, teachers should organize the educational process considering children’s psycholinguistic characteristics. The most effective approach combines visual, auditory, and kinesthetic methods.

The German language, with its pronunciation system and phonetic richness, helps develop children’s articulation and sound culture. For example, pronouncing sounds like “ch”, “sch”, “ei”, “eu” in words helps improve speech development, positively influencing their pronunciation in their native language as well.

2. The content and types of interactive methods

Interactive methods are approaches in which learners actively participate, express their thoughts, and gain experience. In preschool education, the following interactive methods are considered the most effective:

1. Game-based technologies.

Play is the most natural and effective tool for language learning. Through games like “Find the Color,” “Choose the Animal,” or “What is this?”, children reinforce new words and learn to use them in context. For example, short expressions such as Was ist das? – Das ist ein Ball are easy to remember.

2. Teaching through songs and poems. German children’s songs (such as Alle meine Entchen, Guten Morgen!, Zehn kleine Fische) make lessons lively, improve pronunciation, and help develop a sense of rhythm. Repetition in songs aids vocabulary retention.

3. Role play.

Through situational activities such as “At the Store,” “At Home,” or “In the Garden,” children practice real communication scenarios. This method fosters confidence and active participation.

4. Using multimedia and interactive resources.

Modern technologies such as Wordwall, Kahoot, and LearningApps generate great interest among children. With visuals, sounds, videos, and animations, children learn through seeing, hearing, and movement simultaneously.

5. Creating a “language environment.”

Displaying German words, colorful posters, and organizing a “language corner” in the classroom allows children to experience the foreign language naturally.

6. Interactive lessons involving parents.

Activities like “Family Day” or “Language Game Day” engage parents alongside their children. This fosters a positive emotional atmosphere and strengthens children’s motivation.

3. The importance of play and emotional atmosphere

Emotional atmosphere plays a crucial role in language learning. Psychological studies show that when children experience joy, surprise, and excitement, they retain information more effectively. Therefore, using games, humor, and colorful visual materials in German lessons is essential.

For example, during “Let’s Sing Together” activities, children not only hear the words but also accompany them with gestures, which develops their motor skills.

Moreover, a teacher’s positive energy and encouraging words (“Sehr gut!” “Prima!” “Super!”) boost children’s self-confidence. Thus, the teacher not only teaches the language but also nurtures self-esteem and positive emotional development.

4. Practical experiences and observations

Observations conducted in several public and private preschools in Tashkent, Samarkand, and Namangan regions have shown that lessons using interactive methods engage children 30–40% more actively and double their vocabulary acquisition rate.

For instance, during the “Language and Culture Week”, children easily learned expressions such as “Ich bin Anna,” “Ich habe eine Katze.” Through drawing, singing, and role-playing, they actively participated in communication.

Additionally, classrooms with a “Picture Vocabulary Wall” (Bildwörterwand) helped children memorize words more effectively by seeing them daily. Such visual methods strengthen visual memory.

CONCLUSION

In conclusion, increasing preschool children’s interest in learning German requires using interactive methods that suit their age, psychological, and linguistic characteristics. Lessons that integrate play, music, movement, and emotional engagement encourage active learning.

The most effective approaches in teaching German include:

1. Organizing lessons through play and ensuring children’s active participation.

2. Using songs, pictures, and multimedia to make lessons engaging.

3. Creating a “language environment” and involving parents in the learning process.

4. Applying an individual approach and motivation system for each child.

The application of interactive methods enables children to enjoy learning foreign languages, express their thoughts, retain new knowledge, and develop independent learning skills.

Thus, teaching German at an early age through interactive methods is a key factor in improving the quality of preschool education, developing children’s communicative competence, and preparing them for successful future language learning.

REFERENCES

1. Vygotsky, L. S. (1978). Mind in Society: The Development of Higher Psychological Processes. Harvard University Press.

2. Piaget, J. (1962). Play, Dreams and Imitation in Childhood. W. W. Norton & Company.

3. Lenneberg, E. H. (1967). Biological Foundations of Language. Wiley.

4. Cameron, L. (2001). Teaching Languages to Young Learners. Cambridge University Press.

5. Brewster, J., Ellis, G., & Girard, D. (2002). The Primary English Teacher’s Guide. Pearson Education.

6. Pinter, A. (2017). Teaching Young Language Learners. Oxford University Press.

7. Harmer, J. (2015). The Practice of English Language Teaching (5th ed.). Pearson Education.

8. Wright, A., Betteridge, D., & Buckby, M. (2006). Games for Language Learning (3rd ed.). Cambridge University Press.

9. Rixon, S. (2013). British Council Survey of Policy and Practice in Primary English Language Teaching Worldwide. British Council.

10. Ellis, R., & Shintani, N. (2014). Exploring Language Pedagogy through Second Language Acquisition Research. Routledge.

Nilufar Mo‘ydinova was born in Qo‘shtepa district, Fergana region, Republic of Uzbekistan. A graduate of the Uzbekistan State University of World Languages, she works as a manager at “Fair Print” Typography Service. Her articles have appeared in Bekajon, Kenya Times, The Diaspora Times Global, and Synchaos. Member of the International Writers’ Association of Argentina (Grupo de Trabajo de Escritores Internacionales – Argentina), holder of international certificates, Global Ambassador for Peace, and participant in international anthologies and conferences.