folklore by taylor swift

What were you doing when Taylor Swift seemingly came out of the blue on Instagram by posting black-and-white photos of her being in a forest? I was doing the lesson plans for the next day’s classes. When I saw the photos, I was definitely curious, because obviously uploading nine interconnected photos of herself one after another is just not Taylor Swift’s normal behaviour. Let’s just say, when she announced that she was coming out with her eighth album, folklore, the floodgate of emotions inside me rapidly opened (or should I say crumbled into pieces?), bursting me with uncontrollable behaviour. I would like to thank God that I was alone that time, because people might think I was crazy. It wasn’t even a year since Lover was released (I have Lover, but somehow I didn’t give my opinion on it here. Got to slap myself for not doing that!). No one, Swifties included, expected Swift to just announce a surprise album without her Swiftian easter eggs and first single coming out at least two months before the full album. Nevertheless, girl did that and the entire Music Industry was shook.

We know that Taylor Swift is gifted singer-songwriter, a chameleon of sorts. From a Country Sweetheart, to a Pop Superstar, and now, somehow an Alternative Indie Songstress, she shows her versatility. Some (am I rude in saying "deaf?") quarters have long denied her competence in song writing or composing, saying that she only knows how to write pop-friendly but ultimately shallow songs – “Me!” or “Shake it Off” anyone? – although in reality, those tracks are just a small part of her catalogue of exquisitely crafted songs, be it in terms of composition or lyrics. But does Swift shows her growth in folklore. As a Swiftie who has followed her since almost day one, I must say that if she doesn’t achieve a legendary status yet, she is damn near that level. I mean, not a lot of artists could make a transformation as seamlessly as her, and with folklore, she is putting her feet in yet another genre, a whole new territory… and she does that gracefully.

Those who are new to her (critics included) would think her evolution is drastic, but in my humble two cents, it is not sudden transformation. In fact, I do believe that it is a natural thing. She has been in the industry for 14 years now, honing her craftsmanship, sponging in trends from years past and future, at the same time, putting her own spin on her music. For a woman just stepping into her 30s, folklore is a given. It is a record showing her maturity in all skills she owns, while opening up new avenues for her. All this while, her songs are mostly reflective of her own life (and we do love her for those songs), but in folklore, Taylor Swift pretty much portrays to us that if she wants to, she could very much write fictional songs from a third point-of-view, and does it without sacrificing anything that makes Taylor Swift, well, Taylor Swift. Her lyrics are more poetical, more grown-up, fitting for a lady like her, and while I must state here that Pop is not a genre exclusively reserved for the youngsters only, writing a record of a nature like this one, with rhythms and melodies usually associated with the alternative and folk (with a bit of indie rock, country, and dream pop thrown in), indeed brings a new perspective of our perception of Taylor Swift. Not wanting to drift herself in isolation, but perhaps finding her own thoughts loud and surging fast during a moment when everything else feels silent and time seems to stop, she directs herself into a fresh, more expansive, dreamy soundscape. The result of which is a warm, yet heart-wrenching record, destined to tug our hearts.

The minimal tracks with almost no pomp and splendour as can be listened on her previous albums seems to be just what Swift needs. There’s no denying that the seven albums before folklore are indeed good. But two things that has plagued her is the fact that there’s almost no cohesiveness in some of her albums, especially the pop ones, and Taylor tends to make the first single of each album vastly different aurally than the rest of the album. This is not the case with folklore. Cardigan, the lead single, is of the same pedigree with the other 15 tracks, matching perfectly and becoming a good opener to this whole new era. Besides that, Taylor is confident and consistent in this album. The songs are all sonically interconnected by a singular voice, no matter if the subject matter is happy or sad. Also, one detail that Swifties haven’t missed, the usages of minuscule letters for the album and track titles. Maybe doesn’t mean so much for non-fans, but hey, even that is a major thing for the fandom.

I’ve talked for quite too long already, so here are some opinions about the tracks that I love the most, and to be honest, I love almost all the tracks, but the ones mentioned below are the highlights of the album for me. Here goes.

the last great american dynasty

Taylor Swift’s ability in crafting vivid stories is shown here, a bright and relatively upbeat song about the heiress Rebekah Harknes who was the previous owner of Swift’s home in Rhode Island. In this track, she intertwines the crazy story of Rebekah with her own life. The songs shows Taylor Swift’s prowess in storytelling, making us all excited to know more about the aforementioned lady of the house. The details in the track are richly told, and the buoyant lifting rhythm matches Little Rhodey’s seaside atmosphere of the song faultlessly.

exile

This is what I consider as the mature sister of “The Last Time”, a song featuring Gary Lightbody of Snow Patrol in RED, which I still consider as one of the best duets Swift has ever done. Exile is a heart-wrenching song, an introspective tug-and-pull between two characters who blame one another for not being able to save their relationship. Bon Iver’s Justin Vernon lends his rich, rough voice which harmoniously blends Taylor’s own delicate voice especially near the end when the song get higher and higher in notes and intensity. The end result is a perfect match of for lament that is as beautiful as it is blue.

my tears ricochet

Taylor Swift takes the role of a ghost watching her toxic former lover being in her funeral in this emotionally-ridden song. This breakup ballad is the first song Swift wrote for folklore, and I won’t be surprised if this is the song that finalised Taylor’s decision on how her eighth album would sound. As usual when it comes to Antonoff’s songs for Taylor, his signature vocoder and electronica sounds are ever-present, but unlike in 1989, reputation, or Lover, those influences are toned down and used smartly to further solidify the ghostly state of Swift’s character, with reverbs and distorted voices employed throughout the song to suggest distance between the real and the deceased, and perhaps the emotional distance when both partners were alive as well.

mirrorball

I feel like this is a bittersweet track, with Taylor saying that her every move is watched upon by the foxes (i.e. the media), but she’ll do whatever she could to still entertain those who love her for who she is. Somehow, this feels like a 70s-influenced song, with Taylor’s wistful voice and the omnipresent guitars. The bridge part is the part that I like the most, when Swift promises to her listeners that she’ll always try to comfort her fans.

seven

A gentle childhood memory that shows turbulence within as you learn the subject of the song. The lilting rhythm and Swift’s smooth whispery voice carry this song, while the imagery crafted by the songstress is as authentic and as real as it gets, as Swift tells us about smelling sweet tea and playing in the grass; at the same time, asking her friend to run away from what to be an abusive home, but with an innocent childlike perception.

august

⅓ of the teenage love triangle tracks, this soulful song portrays a girl's secret yearn for a boy she loves but can't have, it is a beautiful song, a narration of regrets but at the same time, filled with hopes and memories of love during summertime. It starts a bit slow and soft but then builds and rises right about halfway through, as the girl in question remembers what she did for the boy and is hoping that it was all not just a temporary, small part of her life. This soulful song is what I consider as one of her best tracks, not just in folklore, but across her entire catalogue.

this is me trying 

I am reminded of “State of Grace” as I heard this song, but while that song is cleaner in vocal and instruments sounds, “This is Me Trying” has a more ethereal, chamber-like, dreamy soundscape. This reverb-infused song is for me, one of the best song of the album. It is also one of the most upbeat (well, relatively upbeat) tracks in the album. Swift’s echoic voice merges so well into this haunting song, making this song a sonic treat half-way through the album.

invisible string

A song that is about finding wondrous, serendipitous love. Swift writes about how she thinks people are connected by a string, and that at the end, the journey that pulls each person to one another might be worth it. The song is carried by constants banjo plucks and a country-like sounds. Her wit in writing can also be seen in this song. This track is a feel-good track that’ll definitely put a smile on your face.

mad woman

This could be one of the songs in folklore in which Swift relates her experience the most. While generally, it can be seen as a track where she coldly scorns people for demonising women and then playing victim when the said women start to fight, it could also be her own perspective of the society’s own past action towards her as they perceived Taylor Swift to be, well, a man woman. I’d say as a feminist track, it is far better than The Man in Lover.

betty

betty is one of the three songs in the triptych of what Swift calls as Teenage Love Triangle (alongside cardigan, the lead single, and august, as mentioned above). It feels summery even though the song is about a boy, James, apologising to his girl, Betty, about a summer fling with another person and wishing that the girl would forgive him. I must say, this is the track that reminds me the most of her first three albums, which are definitely wholly based in the Country Pop region. Harmonica starts the song and stays almost constant throughout the track, alongside lifting guitars sounds. As the bridge hits, the sounds get higher before falling down in the introspective section of the bridge, and then rises again, as if signalling that James in hopeful for Betty to forgive her, although let's be honest, the fact that James is a douche and lowkey blaming Betty? Betty shouldn't get back with him. Swift thinks the other way around though, saying that we deserve second chance. The song is also youthful, which shows how good Swift is in telling stories from an adolescent’s point of view.

The other songs in the album are the 1, cardigan, illicit affairs, epiphany, peace, and hoax and on the physical version, the lakes, which I have not heard yet as of this moment. I’ll admit that I’m not that much in love with epiphany, and well, not having it in the album wouldn’t change the perfection that is folklore. The other songs though, are worth a listen or two… or in my case, more than 20. I say this, the album is a grower. I loved the album when I first listened to it, but as I played it a lot more, this genius album even became more lovable. Some people might not like the relatively sparse or stripped down sounds of the album (especially on tracks such as peace and hoax) or the mature themes and genre of it, but hey, for my part, this is probably the best Taylor Swift’s album.

It is a piece of work that reflects Taylor’s maturity in all aspects of life, carving a new road for her, and hopefully will also win her new fans. It's an album that is for the heartbroken, the hopeful, and all in between, a warm, authentic, and transformative album. Is it her magnum opus? Yes it is. Probably, might not be last one, because we all know… she is Taylor Swift.

Nintendo Switch Game Review: Xenoblade Chronicles 2

Xenoblade Chronicles 2

After playing this game for 175 hours (and not even finishing the entire side quests haha), I beat it about a year ago? Haha I know that was a long time ago for me to actually create this post now but whatev. It's a beautiful game, obviously not without flaws, but still amazing and satisfying.

Here are some of my thoughts about this role-playing game:

1) The combat system was a bit confusing for me at first, to the fact that I basically played the first one third of the game without knowing most of the battle system (I mean this was my first JRPG, so maybe cut me some slack), but as I progressed through the story, I managed to comprehend everything and from then on, the battles ran smoothly for me. The driver arts, chain attacks, driver combos, element orbs, there are lots to take into account, but they're all parts of the learning process. Once I knew all the battle system, the game got even more interesting and fun! Plus, I got to be technical and created strategies to defeat my enemies.

2) Notwithstanding the fact that Switch is not as powerful as other game consoles, the graphics and designs of XC2 are really breathtaking, and since this is an open world game, you are able to explore various areas. I especially love Gormott and Leftherian Archipelago. I think each time I was tired of fighting, especially in areas which I wasn't fond of, I'd go back to Gormott and spent 15 minutes just enjoying the beauty of the area (and accidentally got killed by Level 81 Territorial Rotbart while at it). Anyway, kudos to the game designer!

3) The OSTs of XC2 are aurally fantastic. Each major area (or gamewise, known as titan) has its own theme that fits perfectly with the scenery, quests, and overall feelings of it. Listen to "Gormott (Day)" theme and tell me it doesn't evoke a spirit or adventuring into the unknown, which nails perfectly with the area? Also, "Counterattack" OST is LIT!!! I really love "The Tomorrow with You" OST. This plays almost at the end of the game and really it tugged my fragile heart. Seriously, Yasunori Mitsuda really packed a punch in his music for the game. Talking about audio, not a lot of games use British English accents as the characters' voices, so it is a pleasant surprise indeed. I know some people don't really like the voices of certain characters in this game, but I personally think they are charming, although yes, I do agree some characters (well, mostly Rex haha) need more emotions especially for some pivotal scenes.

4) The side quests for me are okay. Some side quests are fun, some are just meh... but well I did most of them hahaha just to pass time when I didn't feel like doing the main story. I think having more variations of the side quests would be great. There are also quests that you have to do to increase your level and go to the next chapter (hey, what's new?), so watch out for that. This include the Mercenary system in the game. The Heart-to-Heart scenes are a pleasant touch to the game as it improves the bond between the characters, thus improving their stats, but also for their fascinating and sometimes humorous short scenes.

5) The main story itself is incredible. Well, it might be a typical JRPG fare, but honestly, for me, it was a good story. The last part is especially emotional. I wish it could be a film haha. When the game ended and Monolith Soft logo appeared, I damn near cried, but I managed to hold my tears. Frankly, I wish I could go erase my memory of the game and go through it again. That's all I want to say.

6) The characters of the story are lovable and endearing. I found myself rooting for all of the characters, especially Rex and Pyra, though I am bias towards Mythra... and I also finally understand the meaning of "waifu" hahaha. Side characters also add to the charm of the story. Poppi the artificial Blade and its master slash creator, the nopon Tora are really funny. Nia was not my favourite character at first, but she kinda grew on me.

Some things that I think could be improved upon are the map because it is as confusing as hell! There were moments when I couldn't find some places for quite a long time and that frustrated me. Besides that, in the story, spoiler ahead, Mythra has this Foresight power, which was touched upon in the story. I wished it could be implemented in the game itself, but probably the battle system is a bit too much already I guess? Oh perhaps, next time, when teaching the battle system, more clarity should be provided hahaha.

Anyway, Xenoblade Chronicles 2 is indeed an impressive piece of JRPG. Please let yourself be immersed in the beauty of this game. You'll end up wishing it is longer, even when it is already quite long. It is a world you want to live through again.

Parasitic Nature of Humans - A Review of the film Parasite

The film “Parasite” or in Korean, “기생충” (Gisaengchung), directed by Bong Joon-ho is a satire that is worth the watch. A great black comedy slash thriller in its commentary of the social and economic gaps between people of different social classes and within a similar social class, many issues arising amongst the characters in the movie have their roots due to these gaps. Here is my analysis and commentary of one of the questions brought up in the film. Mind you, I’m not going to explain the whole plot of the story (you can go to Wikipedia for that), but it’s safe to say, spoilers ahead.

Who are the real parasites?

The most obvious thing in the film is the disparity of wealth and the difference in social classes of the Parks (the rich family) and the Kims (the poor family), along with Moon-gwang and her husband, Geun-sae, who are even below the Kims. Living in a cramped and impoverished semi-basement, the prospect of working with the Parks is a way for the Kims to at least get enough money to slightly get away from their destitute living. As we watch the film, at first we see that the infiltration of the Park household by the Kim family members through their portrayals as skilled and qualified characters makes them seem to be the titular parasites of the film. We can see how they usurp the positions of the other staff of the house one by one through design and tactics, all to get a better life together.

The fact is the promise of money and a better life have clouded the Kim family of their humanity, treating their fellow working-class people as nothing but hindrance in their target of getting money. They start to bask in the glory of richness, treating the house as their own home when the Parks are gone for a family outing. In their minds, they imagine a life far beyond poverty. The con committed by the Kims would seem to be a tell-tale sign that they are the titular parasites as they manipulate and exploit their affluent employers through various aspects, all when their employers pay their wage for their services. They are supposedly symbols of low-class workers not caring about what they do in order to get ahead in life…

…but that would be a misguided view of the film.

The rich Parks are, by their very nature, parasites as well. Their richness has caused them to be detached from the reality of life. A heavy downpour one night causes flood in Kims’ semi-basement house, effectively destroying many of their belongings, but for the Mr Park Dong-ik and and his wife, Choi Yeo-gyo, it only cancels their camping trip for their son’s birthday. Add to that, Mrs Park comments how the rain cleans the air for their enjoyment, not realising that her household workers are displaced by the flood. The Parks’ comfortable life is also highly dependent on and aided by the Kims (and their former household workers). Director Bong Joon-ho has stated that the Parks are parasites in terms of labour. They can’t even wash dishes or drive themselves, so they leech off the poor family's labour. The dependency on their employees is even apparent as they don’t even check the backgrounds of their workers and only depend on words of mouth. This can be seen when Ki-jung, the daughter of the Kim family suggest a replacement for the chauffeur (who is fired due to Ki-jung’s manipulation), she gives a fake company card and recommends her father (although obviously this is not to be divulged). A proper person would have check the company and the background of the driver first, but Mrs Park does not do that. One could say she trusts her staff but is it really a hard thing to basically examine things first? In fact, throughout the story, it is shown that Mrs Park does not really play a role as a homemaker or a proper mother to her children. Meanwhile, Park Dong-ik is away with work almost all the time, only to come back at night.

So, who are the real parasites? Undeniably, the two families are entangled in a bond of a parasitic nature – each sucking the marrow of life from another. The Kims, facing poverty, are of course trying their best to ensure that they are free from all the troubles that follow poverty. Thus, they need the Kims to buoy them from drowning under poverty and fight uncertainties every day in getting scraps to keep themselves alive. The Parks, of course think they are good employers and wouldn’t think twice about the salaries given to their staff as long as they do their work well. This also means they feed off their workers (sometimes in ways that are problematic to the staff) and expect them not to go beyond the invisible line that divides the social class.

As much as the film portray both of them as parasites, all of them are not inherently depicted as heroic or villainous. The Kims are grateful to receive large wages from the Parks, while the Parks (although still in the bubble of ignorance far detached from real life issues and keeping noticeable socially crafted distance from their employees) are still quite good employers. All of them have dubious behaviours and do things for the sake of their wellbeing. They all have flaws, and the flaws come from their places in life. They are reflections of today’s society in which people get one thing or two from one another in order to move ahead and gain advantages. The rich has always been in need of the services from the lower class people, and the poor use the rich people to get money and goods through their employments. The social roles of these people have been preserved for aeons and will continue to go on. In our society, 

It is easy to blame only one party on being parasites, but we need to accept that parasites sometimes don’t have to look malicious.

Have a Heart

Artwork given to me by Laura Melissa Williams

We hate because we are taught to hate.

Here’s the thing, not all of us face racism in the same way. We might not be able to fully grasp or understand the severity of racism against people who are different than us. I’d dare say that sometimes, we might even go through our lives without worrying whether any racial issue affect us or not, but that doesn’t mean we should be silent.

Racism is a universal issue. In fact, many racial issues in the United States (and other countries) are similar or almost similar to the ones at home, which proves that where the issues happen just does not matter. Instead of staying silent, we should take time to reflect and analyse their impacts and similarities on the racial problems of our own country. Use them as a mirror to examine our system, behaviours and attitudes. Have we had racist tendencies? Have we shown discriminatory behaviours towards people of different ethnicities? How can we be better? How do we advocate for a better environment for everyone? What direct actions can we do to ensure justice?

Expressing our thoughts and opinions against racism is not a mindless thing to do, and we (especially the new generations) have to amplify those thoughts to make them heard across various communities. Let’s inform ourselves of the issues and strive to prevent occurrences of racism, big or small from happening in our home. Let’s face it, I don’t believe that racism will ever disappear, but we can help to reduce it. If you think that not caring about racism in other countries has nothing to do with us, you are being complicit towards injustice, oppression, and violence in your own nation.

Don’t be ignorant, don’t be apathetic, don’t use our privileges just for our personal sakes, don’t be complacent, don’t be quiet.

Especially if we are teachers (I am one of them). We do make mistakes in our lives. They did, you did, I did. We all did mistakes. Don’t make being hushed in racial issues and discrimination one of those faults. Within the four walls of our classrooms, we could magnify the voice of people who are oppressed due to their skin colours. Teach our pupils to be sensitive. Teach our pupils to see beyond their own bubble of safety and privilege, teach our students to view things with open minds and proper analysis. Most importantly, show them that they can be the catalysts of changes, that their opinions matter, and they have the opportunities to make Malaysia a better country for everyone.

To end this post, I’ll say this humble opinion of mine – even if the only person you are capable to stop from having racist tendencies is yourself, that's good. We need less racists in this world. We need people who try to bridge the differences and diversity amongst people and celebrate who we really are as humans. Sometimes, we can't guide other people due to circumstances that are against our way, but if we are learning to stay vigilant, be knowledgeable and informed, and take actions on our own for our own selves, that is a commendable thing.

We hate because we are taught to hate, but we could learn to love.

"...a white has no superiority over black, nor a black has any superiority over white except by piety and good action."
(The last Sermon of Prophet Muhammad)

"Thou shalt love thy neighbour as thyself."
(Matthew 22:39)

I have decided to stick with love. Hate is too great a burden to bear.

(Martin Luther King, Jr.)

Technicolour Heartbreak

And colours appear in me
neon, child-like innocence
sense of love, a bright rainbow
arc in my heart.

Seven colours made of
you - your touch, your eyes, your voice
your shape, your mind, your soul,
your heart.

And it's intense, you, the one I
go to, the one I adore, the one
I imagine in a kaleidoscope
of colours.

But what's a rainbow but
impermanence? Drops of rain
punctuated by light
only to dissipate
like glass broken into shards.

Shards that drop to the chest
to reveal just a pulsating red,
a scarlet river. Beating to its death,
you only see the monochrome
in me. I see you only

a figment of imagination.

Because the colours I'm seeing
are made of rose-tinted glass,
this love is stained
in hues of
grey and darkness.

Assessing English Language Learner - A Review on the Webinar

This is a review of a webinar on education that I watched on Saturday, 16^th of May 2020, from 9.00 pm to 10.20 pm.

Title: Webinar 1 – Assessing English Language Learner

Discussants:

• Datin Dr Mardziah Hayati Abdullah – The member of the English Language Standards and Quality Council, Ministry of Education Malaysia and retired associate professor from the Faculty of Modern Languages and Communication, Universiti Putra Malaysia.
• Ms. Jayapushani Ponnudurai – The member of the English Language Standards and Quality Council, Ministry of Education Malaysia, a Cambridge Examiner Trainer and Examiner for IELTS and Life Skills.
• Dr Ramesh Nair – The associate professor at the Academy of Language Studies, Universiti Teknologi MARA and president of the Malaysian English Language Teaching Association.

Moderator:

• Dr. Premalatha Nair – The senior lecturer at the Institute of Teacher Education, International Languages Campus Kuala Lumpur.

Organisers: Malaysian English Language Teaching Association and Oxford Fajar.

Focus One – Curricular Reforms and Common European Framework of Reference

Reforms in education in Malaysia have been a continuous process, according to the needs of the local and global society at particular moments. Curricular reforms in Malaysia that involve English particularly are extensive. In 2011, Malaysia began its latest curricular reform, Kurikulum Standard Sekolah Rendah (KSSR), which is then continued with Kurikulum Standard Sekolah Menengah (KSSM). One specific aspect of this new curriculum for English is the implementation of Common European Framework of Reference (CEFR) in 2018.

Malaysia’s CEFR-aligned Curriculum is a part of the Malaysia Education Blueprint 2013-2025 and is aimed to make learners gain knowledge and skills relevant for the 21^st century. CEFR is designed as a framework for describing fluency and linguistic skills (listening, speaking, reading, and writing) for learners and forms the basis of teaching and learning. It helps the process of learning and teaching by assigning tangible descriptors of what learners can do at various levels. The levels being A1 from the lowest to C2 as the highest. This helps educators and parents to give a more concrete response for learners’ progress and proficiency and be able to dictate the next steps taken to ensure their advancements. A particular focus of CEFR-aligned Curriculum is on the communicative ability of learners, which is one important aspect of learning any languages. Understandable interaction can still occur with slight errors, and this is a facet of language learning that CEFR purposefully wants educators to also rectify upon, as before this, the view is that a proper linguistic knowledge in terms of grammar are absolutely important tool to express ideas, thoughts, opinions, and other communicative skills.

Nevertheless, to think that CEFR is only about descriptive levels is a wrong concept. CEFR also focuses on what learners can do, through can-do statements (such as ‘pupils can narrate short stories’ or ‘pupils can understand the main idea of a text’). The focus on can-do statements acts as a positive enforcement for learners as they know what their goals are and find ways to reach those goals. This focus on learner awareness is beneficial to their self-learning.

Something to note is that we must reiterate that CEFR is not an example, tool, or technique. It is simply an outline or a guide for helping educators to put into places a systematic thinking about where their pupils or students are, and where to go next. Besides that, as CEFR is a global in its structure, the same levels and descriptors are used throughout the world. Different countries nevertheless may have a different set of exit targets for their learners. CEFR in Malaysia is definitely aligned and suited to our country’s environment and society.

As far as I am concern, CEFR-aligned Curriculum does help a teacher in determining the problems that their pupils or students are facing, knowing setting the targets for them to achieve, and creating lessons that are shaped by learners’ abilities. It is undeniable that sometimes, teachers might be at a lost on what to target or focus on, so a framework like CEFR brings about a proper guide for them to be more concern of their learners’ achievements in class.

A focus on communicative aspect is also another good thing about CEFR. While former curricular are highly focussed on grammar, which is undeniably important, it is highly concentrated on reading and writing to the detriment of speaking and listening. We do not need to have a highly accomplished grammatical knowledge to make ourselves understandable. While it might be needed depending on where we reside or work (and as teachers, teaching grammar is needed), as a general skill, making ourselves comprehensible through a clear presentation of ideas and expressions of our thoughts should suffice.

Focus Two – Exam-oriented Education System and Teachers’ Concerns

The educational system in Malaysia has always been oriented towards exams, as evident from the number of exams that a pupil will go through throughout their life such as UPSR, PT3, SPM, and STPM. Many teachers are concerned about teaching as they are divided between teaching for their learners’ own skills and knowledge and/or just to pass major examinations. Malaysian society as a whole has been ingrained with this idea that grades and marks are the most important thing in a learner’s educational life. Vital decision-making is attached via exams and this is not a way to go for the future. Advocates for changes have long stated that some exams or assessment methods should be reformed.

In terms of the English Language Education (ELE), it is seen as a continuous process. ELE should be regarded as a non-stop learning experience or journey from pre-school and tertiary education (if a learner chooses to enrol in tertiary education). The implementation of CEFR can be seen as a way to reduce the dependence on exams.

The levels and descriptors can be used to determine and assess their knowledge and what they are capable of doing. It is not surprising to encounter moments when a learner’s grade does not really show what he can actually do as assessment through final examinations can be a limited and inaccurate system. Grades in the form of As, Bs, Cs and so on only matter if they are able to be interpreted into something that show what learners can do.

The role of CEFR in helping learners, their teachers, or even their parents to evaluate themselves is an important tool in ELE and encourages self-learning. They can have noticeable and real views on what they are capable of and what they should concentrate on next. For educators, this opens an avenue for them to properly conduct lessons that are built around skills and linguistic awareness that their learners already have or not have. Indeed, a continuous assessment via visible descriptors are far better than only a final exam.

Another primary concern of teachers are the format of tests. While undeniably, learners should know about the format of tests, it should not be a primary issue. The ways we teach should not have an overbearing concern on the exam format. CEFR-based lessons are based on things to be learnt and tested on pupils. Teachers could just teach as according to the descriptors and requirements of the CEFR-aligned Curriculum. Learners should gain knowledge and skills for the progress of their lives, and not just for a day during the examination period. Exam can be important, but it is not necessarily a be-all and end-all means to determine learners’ capabilities and knowledge.

In my humble two-cents, a reduced focus on end examinations can help reduce stress as learners are not overwhelmed by a deluge of information to be taken in and regurgitated in a short amount of time, when they themselves might not be able to dictate their strengths and weaknesses. Through descriptors and continuous assessments, learners can also build their learning through easy steps and set targets to be achieved. A realisable pace of learning and teaching will help in ensuring learners’ mastery and build upon what they have encountered earlier. The process of using CEFR descriptors for measuring learners capabilities and what they can do also take the burden out of teachers’ shoulders as they have concrete ideas and suitable guide to create lessons that help in the step-by-step learning process.

Focus Three – Formative Assessment

Learning is a continuous process. In this manner, giving assessment only at a particular timer during the learning period does not suffice. In fact, there are differences between formative assessment and examinations (which can be considered summative).

Formative assessment is seen as a process used to improve on the learning process, in which evidence from learners are taken into consideration when giving feedback and crafting the subsequent stages for learners. Assessment is also collaborative effort between teachers and learners. Without substantial evidence and collaboration, learners cannot be measured appropriately. This is where CEFR descriptors can come into play. Targets set by teachers are plans that learners need to achieve.

Summative complements formative assessments in aspects that formative assessments cannot, especially for exit targets and determining pupils’ capabilities at the end of the learning period.

Focus Four – Highly Immersive Programme

The reform plan does not only concern CEFR. Another part of the plan is Highly Immersive Programme (HIP). One important factor that makes learning a language easier is a constant exposure to and use of a language in the surroundings. HIP necessitates this by having schools create an environment where English is used through physical and visible elements and through communicative aspects. HIP and CEFR are not equivalent to one another, but the design of HIP is made to complement and support CEFR-aligned Curriculum in schools. This can be done as teachers can design activities carried out through communication and interaction.

It is of my opinion that an appropriate environment where language is highly visible and used throughout the day helps learners to shed some of their qualms and fear in interacting using it. A continual effort to increase learners’ engagement with English can make them realise that English is not just to be used inside the four corners of classroom but also have valid real-world usages, even if the usages might be limited to personal or educational reasons only during the school years. Engaging learners to use or see or interact in English through the participation of other subjects also help them to see that English language is not narrowed by only the usage of the language in the classroom. In fact, English can matter through various roles and topics.

This webinar can be watched here.

Wildflowers

Like wildflowers

just like wildflowers
each letter you pronounce
falls to the ground
and it blooms
a path
that leads to you
in a multitude of colours
beautiful under the sun.