18 Suggestopedia Introduction We have seen several instances in this book of language teaching methods that have been. developed by educators from outside mainstream language teaching, such as the Silent Way (Chapter 16), and Community Language Learning (Chapter 17), Methods such as these sometimes interest teachers who may be attracted by their novelty and the results they are said to deliver, Many of the “innovative” methods of the 1980s and 1990s are mainly of historical interest today, although they may still have some practitioners in different parts of the world. Suggestopedia is another method of this type and was developed by the Bulgarian psychiatrist-educator Georgi Lozanov. Suggestopedia is a specific set of learning recommendations derived from Suggestology, which Lozanov describes as a “science ... concerned with the systematic study of the nonrational and/or nonconscious influences” that human beings are constantly responding to (Stevick 1976: 42). Suggestopedia tries to harness these influences and redirect them so as to optimize learning. The most con- spicuous characteristics of Suggestopedia are the decoration, furniture, and arrangement of the classroom, the use of music, and the authoritative behavior of the teacher. Music is an especially important element of Suggestopedia, and both intonation and rhythm are coordinated with a musical background, which helps to induce a relaxed attitude. The method has a somewhat mystical air about it, partially because it has few direct links with established learning or educational theory in the West, and partially because of its arcane terminology and neologisms, which one critic has unkindly called a “package of pseudo- scientific gobbledygook” (Scovel 1979: 258). Hansen (2011: 403), a current advocate of Suggestopedia, provides this commentary: ‘Suggestopedia (SP) ... was received with incomprehension when it surfaced in the 1960s because its claims of prodigious learning could not be explained in a way consistent with the science of the time. Nor could it be explained by its founder, psychiatrist Dr Georgi Lozanov working at the University of Sofia during the Communist regime, because as a therapist he worked from intuition, following subtle indications that emerged from interactions. Healing victims of the regime, and obliged to use hypnosis for the worst cases, he sought to find a means to bring profoundly traumatised patients “back to life”. What he developed through very delicate sugges- tion was a way of resuscitating the very essence of life - and it was the polar opposite of hypnosis, which in his experience drains away the life force. To banish the damaging 37318 Alternative twentieth-century approaches and methods Implication of “sick” people who needed “help,” he gave his therapeutic method the new goal of teaching a foreign language, and it was at that point that he discovered its extraordinary efficiency: not only did the trauma vanish but the learners learned English incredibly fast! Word spread, the government rushed in to seize the benefit of his work. ‘The claims for suggestopedic learning are dramatic. “There is no sector of public life where suggestology would not be useful” (Lozanov 1978: 2). The extraordinary efficiency described by Hansen seems to refer to a claim by Lozanoy (1978: 27) that “Memorization in learning by the suggestopedic method seems to be accelerated 2s times over that in learn- ing by conventional methods” Lozanov acknowledges ties in tradition to yoga and Soviet psychology. From raja-yoga Lozanov has borrowed and modified techniques for altering states of consciousness and concentration, and the use of rhythmic breathing. From Soviet psychology Lozanov has taken the notion that all students can be taught a given subject matter at the same level of skill. Lozanov claims that his method works equally well whether or not students spend time on outside study. He promises success through Suggestopedia to the academically gifted and the ungifted alike. Soviet psychology also stresses the learn- ing environment, and Lozanov similarly specifies the requirements of an optimal learning environment in great detail, ‘A most conspicuous feature of Suggestopedia is the centrality of music and musical rhythm to learning. Suggestopedia thus has a kinship with other functional uses of music, particularly therapy. One of the earliest attested uses of music therapy is recorded in the Old Testament of the Bible: “When the evil spirit from God was upon Saul, David took up_ his harp and played with his hand; so Saul found relief; and it was well with him, and the evil spirit departed from him? (1 Samuel 12:23). Lozanov might have described this incident as the use of music to assist in the “liberation from discrete micro psychotraumata, for destruction of incompatible ideas about the limits of human capabilities” (1978: 252). In other words, the relief provided by music will vanquish the evil spirit. Gaston (1968) defines three functions of music in therapy: to facilitate the establish- ment and maintenance of personal relations; to bring about increased self-esteem through increased self-satisfaction in musical performance; and to use the unique potential of rhythm to energize and bring order. This last function seems to be the one that Lozanov calls upon in his use of music to relax learners as well as to structure, pace, and punctuate the presentation of linguistic material. Approach Theory of language Lozanov does not articulate a theory of language, nor does it seem that he is much concerned with any particular assumptions regarding language elements and their organization. The emphasis on memorization of vocabulary pairs - a target-language item and its native-language translation - suggests a view of language in which lexis is18 Suggestopedia 3:9 central and in which lexical translation rather than contextualization is stressed. However, Lozanov does occasionally refer to the importance of experiencing language material in “whole meaningful texts” (Lozanov 1978: 268) and notes that the suggestopedic course directs “the student not to vocabulary memorization and acquiring habits of speech, but to acts of communication” (1978: 109). Lozanov recommends home study of recordings of “whole meaningful texts (not of a fragmentary nature)” that are, “above all, interesting.” These are listened to “for the sake of the music of the foreign speech” (1978: 277). The texts should be lighthearted stories with emotional content, Lozanov’s recommendation of such stories seems to be entirely motivational, however, and does not represent a commitment to the view that language is preeminently learned for and used in its emotive function. In class, on the other hand, the focus of a lesson is a dialogue, supported by music and other soothing accompaniments, as mentioned. In describing coursework and text organization, Lozanov refers most often to the lan- guage to be learned as “the material” (e.g., “The new material that is to be learned is read or recited by a well-trained teacher”; 1978: 270). One feels that the linguistic nature of the material is largely irrelevant and that if the focus of a language course were, say, memoriza- tion of grammar rules, Lozanov would feel a suggestopedic approach to be the optimal one. ‘The sample protocol given for an Italian lesson (Lozanov 1978) does not suggest a theory of language markedly different from that which holds a language to be its vocabulary and the grammar rules for organizing vocabulary. Hansen (2011: 41) highlights the role of grammar in working with texts: The major slot for overt grammatical presentation in the Lozanov cycle [of imitation and reading, described below] is in the first elaboration during the choral reading of the text. After the repetition of a certain sentence, there will be a momentary and apparently spon- taneous (but carefully planned and prepared) focus on a grammatical item. This must: 8) come from the text, so that the learner's mind remains focused on the drama rather than on the linguistic structure; b) be brief so that the learners do not get a chance to switch into analytical mode. Thus, it is never followed by an exercise or drill, which may occur at a later stage; ©) be incomplete so that there is still material for the unconscious to puzzle over and ‘work on; the mind is a compulsive pattern maker, positively stimulated by challenge. ‘Grammar never appears to be dwelt upon for its own sake, but to arise spontaneously as a textual puzzle, Theory of learning Suggestion is at the heart of Suggestopedia. To many, suggestion conjures up visions of the penetrating stare, swimming cat's eye, and monotonically repeated injunctions of the hypno- tist. Lozonov acknowledges the likelihood of this association to Suggestopedia but claims that his own views separate Suggestopedia from the “narrow clinical concept of hypnosis as a kind320 Alternative twentieth-century approaches and methods of static, sleeplike, altered state of consciousness” (1978: 3). Lozanov further claims that what distinguishes his method from hypnosis and other forms of mind control is that these other forms lack “a desuggestive-suggestive sense.” as explained below, and “fail to create a constant set up access to reserves through concentrative psycho-relaxation” (1978: 267). (We inter- pret reserves as being something like human memory banks, Desuggestion seems to involve unloading the memory banks, or reserves, of unwanted or blocking memories. Suggestion, then, involves loading the memory banks with desired and facilitating memories.) There are six principal theoretical components through which desuggestion and suggestion operate and that set up access to reserves. We will describe these briefly following Bancroft (1972). Authority People remember best and are most influenced by information coming from an authori- tative source. Lozanov dictates a variety of prescriptions and proscriptions aimed at hav- ing Suggestopedia students experience the educational establishment and the teacher as sources having great authority. Lozanov talks of choosing a “ritual placebo system” that is most likely to be perceived of by students as having high authority (1978: 267). The ritual placebo system that Lozanov refers to might be yoga, it might be hypnosis, it might be bio- feedback, it might be experimental science, “Ritual placebo systems will change dramati- cally in accordance with the times” (ibid.). In other words, Lozanov appears to believe that scientific-sounding language, highly positive experimental data, and true-believer teachers constitute a ritual placebo system that is authoritatively appealing to most learners. Well- publicized accounts of learning success lend the method and the institution authority, and commitment to the method, self-confidence, personal distance, acting ability, and a highly positive attitude give an authoritative air to the teacher, Infantiization Authority is also used to suggest a teacher-student relation like that of parent to child. In the child's role the learner takes part in role playing, games, songs, and gymnastic exercises, that help “the older student regain the self-confidence, spontaneity and receptivity of the child” (Bancroft 1972: 19). Double-planedness ‘The learner learns not only from the effect of direct instruction but from the environ- ment in which the instruction takes place. The bright decor of the classroom, the musical background, the shape of the chairs, and the personality of the teacher are considered as important in instruction as the form of the instructional material itself. Intonation, rhythm, and concert pseudo-passiveness Varying the tone and rhythm of presented material helps both to avoid boredom through monotony of repetition and to dramatize, emotionalize, and give meaning to linguistic material. In the first presentation of linguistic material, three phrases are read together, each with a different voice level and rhythm. In the second presentation, the linguistic material is given a proper dramatic reading, which helps learners visualize a context for the material and aids in memorization (Bancroft 1972: 19).18 Suggestopedia 321 Lozanov refers to the relaxed attitude induced by musicas concert pseudo-passiveness. This state is felt to be optimal for learning, in that anxieties and tension are relieved and power of concentration for new material is raised. Because the role of music is central in suggestopedic learning, it needs to be considered in somewhat more detail. ‘The type of music is critical to learning success. The idea that music can affect your body and mind certainly isn't new ... The key was to find the right kind of music for just the right kind of effect ... The music you use in superiearning [the American term for Suggestopedia] is extremely important. Ifit does not have the required pattern, the desired altered states of consciousness will not be induced and results will be poor ... It is specific music - sonic patterns — for a specific purpose. (Ostrander, Schroeder, and Ostrander 1979: 73-4) At the institute Lozanov recommends a series of slow movements (sixty beats a minute) in 4/4 time for Baroque concertos strung together into about a half-hour concert. He notes that in such concerts “the body relaxed, the mind became alert” (Ostrander et al. 1979: 74). As a farther refinement, “East German researchers of Suggestopedia at Karl Marx University in Leipzig observed that slow movements from Baroque instrumental music featuring string instruments gave the very best results” (Ostrander et al. 1979: 115). ‘The rate of presentation of material to be learned within the rhythmic pattern is keyed to the rhythm, Superlearning uses an eight-second cycle for pacing out data at slow intervals. During the first four beats of the cycle, there is silence. During the second four beats, the teacher presents the dialogue, known as “the material” Ostrander et al. present a variety of evidence on why this pacing to Baroque largo music is so potent, They note that, musical rhythms affect body rhythms, such as heartbeat, and that researchers have noted that “with a slow heartbeat, mind efficiency takes a great leap forward” (1979: 63). They cite experimental data such as those which show disastrous learning results when the music of Wagner was substituted for slow Baroque. ‘They reflect that “the minute is divided into sixty seconds and that perhaps there's more to this than just an arbitrary division of time” ‘They further report that “the Indian vilambita, for instance, has the required rhythms of sixty beats a minute” and suggest that Indian yogis may have built the sixty-beat rhythm into yogic techniques. Finally, they observe that not only human but vegetable subjects thrive under sixty-beat stimulation. “Plants grown in the chambers given Baroque music by Bach and Indian music by Ravi Shankar rapidly grew lush and abundant ... The plants in the chamber getting rock music shriveled and died” (1979: 82). Suggestopedic learning is consequently built on a particular type of music and a particular rate of presentation. Design Objectives Suggestopedia aims to deliver advanced conversational proficiency quickly, It apparently bases its learning claims on student mastery of prodigious lists of vocabulary pairs and, indeed, suggests to the students that it is appropriate that they set such goals for themselves.322. Alternative twentieth-century approaches and methods Lozanov emphasizes, however, that increased memory power is not an isolated skill but a result of “positive, comprehensive stimulation of personality” (1978: 253). Lozanov states categorically, “The main aim of teaching is not memorization, but the understanding and cteative solution of problems” (1978: 251). As learner goals, he cites increased access to understanding and creative solutions and problems. However, because students and teach- ers place a high value on vocabulary recall, memorization of vocabulary pairs continues to be seen as an important goal of the suggestopedic method. The syllabus A Suggestopedia course lasts 30 days and consists of ten units of study. Classes are held four hours a day, six days a week. The central focus of each unit is a dialogue consisting of 1,200 words or so, with an accompanying vocabulary list and grammatical commentary. ‘The dialogues are graded by lexis and grammar. ‘There is a pattern of work within each unit and a pattern of work for the whole course. Unit study is organized around three days: day 1 - half a day, day 2 - full day, day 3 ~ halfa day, On the first day of work on a new unit, the teacher discusses the general content (not structure) of the unit dialogue. The learners then receive the printed dialogue with a native- language translation in a parallel column. The teacher answers any questions of interest or concern about the dialogue. ‘The dialogue then is read a second and third time in ways to be discussed subsequently. This is the work for day 1. Days 2 and 3 are spent in primary and secondary elaboration of the text. Primary elaboration consists of imitation, question and answer, reading, and so on of the dialogue and of working with the 150 new vocabulary items presented in the unit. The secondary elaboration involves encouraging students to make new combinations and productions based on the dialogues, A story or essay paral- Ieling the dialogue is also read. The students engage in conversation and take small roles in response to the text read, ‘The whole course also has a pattern of presentation and performance. On the first day a test is given to check the level of student knowledge and to provide a basis for dividing students into two groups - one of new beginners and one of modified (false) beginners, The teacher then briefs the students on the course and explains the attitude they should take toward it. This briefing is designed to put them in a positive, relaxed, and confident mood for learning. Students are given a new name in the second language and a new biography in the second culture with which they are to operate for the duration of the course, ‘The new names contain phonemes from the target culture that learners find difficult to pronounce. For example, a student of English might be “the actress Anne Mackey from Kansas” During the course there are two opportunities for generalization of material. In the middle of the course, students are encouraged to practice the target language in a setting where it might be used, such as hotels or restaurants. The last day of the course is devoted toa performance in which every student participates. The students construct a play built on the material of the course, Rules and parts are planned, but students are expected to speak extempore rather than from memorized lines. Written tests are also given throughout the course, and these and the performance are reviewed on the final day of the course.18 Suggestopedia 323 ‘Types of learning and teaching activities ‘We have mentioned a variety of activities in passing in the discussion of the syllabus. “These include imitation, question and answer, and role play ~ which are not activities “that other language teachers would consider to be out of the ordinary” (Stevick 1976: 157). The types of activities that are more original to Suggestopedia are the listening activities, which concern the text and text vocabulary of each unit. These activities are typically part of the “pre-session phase,’ which takes place on the first day of a new unit, The students first look at and discuss a new text with the teacher, who answers questions about the dialogue. In the second reading, students relax comfortably in reclining chairs and listen to the teacher read the text in a certain way. Stevick (1976) suggests that the exact nature of the “special way” is not clear. Bancroft notes that the material is “presented with varying intonations and a coordination of sound and printed word or illustration” (1972: 17). During the third reading, the material is acted out by the instructor in a dramatic manner over a background of the special musical form described previously. During this phase students lean back in their chairs and breathe deeply and regularly as instructed by the teacher, This is the point at which Lozanov believes the unconscious learning system takes over. Learner roles Students volunteer for a Suggestopedia course, but having volunteered, they are expected to be committed to the class and its activities. The mental state of the learners is critical to success; learners must avoid distractions and immerse themselves in the procedures of the method. Learners must not try to figure out, manipulate, or study the material presented but must maintain a pseudo-passive state, in which the material rolls over and through them. Students are expected to tolerate and in fact encourage their own “infantilization.” This is accomplished partly by acknowledging the absolute authority of the teacher and partly by giving themselves over to activities and techniques designed to help them regain the self-confidence, spontaneity, and receptivity of the child. Such activities include role playing, games, songs, and gymnastic exercises (Bancroft 1972: 19). To assist them in the role plays and to help them detach themselves from their past learning experiences, stu- dents are given a new name and personal history within the target culture, as mentioned. Groups of learners are ideally socially homogeneous, 12 in number, and divided equally between men and women. Learners sit in a circle, which encourages face-to-face exchange and activity participation. Teacher roles ‘The primary role of the teacher is to create situations in which the learner is most suggestible and then to present linguistic material in a way most likely to encourage positive reception and retention by the learner. ‘Lozanov (1978: 275-6) lists several expected teacher behaviors that contribute to these presentations,324. Alternative twentieth-century approaches and methods 1. Show absolute confidence in the method. 2. Display fastidious conduct in manners and dress. 3. Organize properly and strictly observe the initial stages of the teaching process ~ this, includes choice and play of music, as well as punctuality. 4. Maintain a solemn attitude toward the session. 5. Give tests and respond tactfully to poor papers (if any). 6, Stress global rather than analytical attitudes toward material, 7 Maintain a modest enthusiasm. As Stevick (1976) points out, there are certain styles of presentation of material that are important, intricate, and inaccessible. It appears that teachers have to be prepared to be initiated into the method by stages and that certain techniques are withheld until such time as the master teacher feels the initiate is ready. In addition, Bancroft (1972) suggests that teachers are expected to be skilled in acting, singing, and psycho-therapeutic techniques and that a Lozanov-taught teacher will spend three to six months training in these fields, ‘The role of instructional materials Materials consist of direct support materials, primarily text and audio, and indirect support materials, including classroom fixtures and music, ‘The text is organized around the ten units described earlier. The textbook should have ‘emotional force, literary quality, and interesting characters. Language problems should be introduced in a way that does not worry or distract students from the content. “Traumatic themes and distasteful lexical material should be avoided” (Lozanov 1978: 278). Each unit should be governed by a single idea featuring a variety of subthemes, “the way it is in life” (ibid.), Although not language materials per se, the learning environment plays such a central role in Suggestopedia that the important elements of the environment need to be briefly ‘enumerated, The environment (the indirect support materials) comprises the appearance of the classroom (bright and cheery), the furniture (reclining chairs arranged in a circle), and the music (Baroque largo, selected for reasons discussed previously), Procedure Hansen (2011: 408) describes a typical lesson cycle in a Suggestopedia course: Lessons are considered in terms of a cycle: first comes the presentation, when learn- ers absorb the material in three different ways, carefully orchestrated. The first, an informal, dramatised introduction to the vocabulary of the text, is followed by two for- mal but very different “concerts,” when the teacher reads the text aloud in synchrony with a piece of music. These “input” sessions spark an unconscious “incubation” process in each student that will continue throughout the course. Input can be com- pleted in one long session, depending on circumstances, but it needs to be followed by at least one night's break. Then the “elaboration” of the text begins, at first a18 Suggestopedia 325 decoding and then a freer and more creative session ... Each lesson cycle follows this structure, but there will be one or more “recapitulation” days to consolidate grammar, and the course finishes with the students planning, writing and delivering their own group performance. Each student takes on a new personality and name, framed in the target language, for the duration of the course. The teacher also takes on roles from time to time and mirrors fluidity of personality, changing as learning advances: being at first an authority figure to define and support the group interaction and set parameters of safety, gradually fading into the background as students gain in confidence and knowledge, and finally retreating to a back seat to let them take over. ‘The third part - the séance or concert session ~ is the one by which Suggestopedia is best known. Since this constitutes the heart of the method, we will quote Lozanov as to how this session proceeds. At the beginning of the session, all conversation stops for a minute or two, and the teacher listens to the music coming from a tape-recorder. He {sic] waits and listens to several passages in order to enter into the mood of the music and then begins to read or recite the new text, his voice modulated in harmony with the musical phrases. ‘The students follow the text in their textbooks where each lesson is translated into the mother tongue, Between the first and second part of the concert, there are several minutes of solemn silence. in some cases, even longer pauses can be given to permit the students to stir a little. Before the beginning of the second part of the concer, there are again several minutes of silence and some phrases of the music are heard again before the teacher begins to read the text. Now the students close their textbooks and listen to the teacher's reading, At the end, the students silently leave the room. They are not told to do any homework on the lesson they have just had except for reading it cursorily once before going to bed and again before getting up in the morning. (Lozanav 3978: 272) Conclusion Suggestopedia has probably received both the most enthusiastic and the most criti- cal response of any of the so-called new methods of the 1970s and 1980s. A rave review appeared in Parade magazine of Match 12, 1978. Since Parade has a weekly circulation of some 30 million Americans, the story on Suggestopedia probably constituted the single largest promotion of foreign language teaching ever. Suggestopedia also received a scath- ing review in the TESOL Quarterly, a journal of somewhat more restricted circulation than Parade (Scovel 1979). Having acknowledged that “there are techniques and procedures in Suggestopedy that may prove useful in a foreign language classroom? Scovel notes that Lozanov is unequivocally opposed to any eclectic use of the techniques outside of the full panoply of suggestopedic science. Of suggestopedic science Scovel comments, “If we have learnt anything at all in the seventies, itis that the art of language teaching will benefit very little from the pseudo-science of suggestology” (1979: 265).326 Alternative twentisth-century approaches and methods Scovel takes special issue with Lozanov’s use (and misuse) of scholarly citations, terminological jargon, and experimental data and states that “a careful reading of [Suggestology and Outlines of Suggestopedy] reveals that there is precious little in suggestology which is scientific” (1979: 257). And yet, from Lozanov’s point of view, this air of science (rather than its substance), as captured by Lozanov’s concept of a ritual placebo system, is what gives Suggestopedia its authority in the eyes of students and prepares them to expect success, One of the tasks of the suggestopedic leader is to determine which current ritual placebo system carries most authority with students because the strength of a current choice (for example, yoga) may weaken with the years. “New times create conditions for building up new desuggestive-suggestive ritual ‘placebo’ systems” (Lozanoy 1978: 267). Just as doctors tell patients that the placebo is a pill that will cure them, so teachers tell students that Suggestology is a science that will teach them. And Lozanov maintains that placebos do both cure and teach when the patient or pupil credits them with the power to do so. Perhaps, then, it is not productive to further belabor the science/non-science, data/ double-talk issues and instead, as Bancroft and Stevick have done, try to identify and validate those techniques from Suggestopedia, such as a focus on rhythm and intonation, that appear effective and that harmonize with other successful techniques in the language teaching inventory. Discussion questions . Music plays an important role in Suggestopedia, What role does it play in your classes for supporting language learning (e.g., through the vocabulary in the songs); making learners feel more comfortable? Vocabulary has a strong emphasis in Suggestopedia, How do advocates of the method approach the teaching of vocabulary? 3» “The textbook should have emotional force, literary quality, and interesting characters. Language problems should be introduced in a way that does not worry or distract students from the content” (p. 324). To what extent does your current textbook meet these qualities? What difficulties do you think teachers would face using Suggestopedia? What difficul- ties might it pose for students? 5. Although easily - and in practice, often - dismissed, Suggestopedie’s focus on the unconscious as having an impact on learning is not without basis in fact. Many of our actions are governed by our beliefs, emotions, and values, often without us being aware of them. To what extent is it the teacher's role to take account of these aspects of the learner? How can he or she do so? Examine your own teaching and identify ways in which when designing and teaching your lessons you take into account learners’ © beliefs « values © emotions P +18 Suggestopedia 327 References and further reading Bancroft, W. J. 1978. The Lozanoy method and its American adaptions. Madern Language Journal 62(4): 167-75, Blair, R. W. (ed.). 1982. Innovative Approaches to Language Teaching. Rowley, MA: Newbury House. Educational Courier (February): 16-19. Gaston, E. T. (ed.). 1968, Music in Therapy. New York: Macmillan. Hammerly, H. 1982. Synthesis in Second Language Teaching. Vancouver, B.C.: Second Language Publications. Hansen, G. H. 2011. Lozanov and the teaching text, In B, Tomlinson (ed.), Materials Development in Language Teaching, and edn, Cambridge: Cambridge University Press. 403-13. Lovanov, G. 1978. Suggestology and Outlines of Suggestopedy. New York: Gordon and Breach. Ostrander, S.,L. Schroeder, and N, Ostrander. 1979. Superlearning. New York: Dell. Scovel, T1979. Review of Suggestology and Outlines of Suggestopedy. TESOL Quarterly 13: 255-66. Stevick, B. W. 1976. Memory, Meaning and Method: Some Psychological Perspectives on Language Learning. Rowley, MA: Newbury House, Stevick, E. W. 1980. Teaching Languages: A Way and Ways. Rowley, MA: Newbury House.