Facial Cues of the Mouth and Language Learning in an Era of Face Coverings and Virtual Courses Elizabeth Zwanziger Educators are accustomed to adapting teaching to different learning situations according to external factors imposed upon them. Current challenges include face-to-face (F2F) teaching with face coverings and shifting from F2F to virtual learning. Language teachers have additional layers to consider, given that the content they teach is also the medium by which they teach it. This article focuses on confronting the challenges of teaching a foreign language in person with face coverings or in a virtual setting. In the F2F format where teachers and students are required to wear face coverings, speech becomes muffled and mouth cues are withdrawn. These factors have a direct bearing on the students' perception and processing of aural language input. In a virtual setting, the obstacle of the mask is removed from the equation, but other factors such as resources and course design come into play. After a very brief review of the research on facial cues and language learning, pedagogical considerations will be discussed. Language learning is a multimodal phenomenon involving sound, body gesture, and facial expression. It is generally accepted that gestures—pointing, nodding, pantomiming, tracing an outline in the air—aid learners in their perception and comprehension of meaning in speech. In the literature, facial cues have often been treated separately from body gestures. Even within the area of facial cues, movements of the different parts of the face, such as eyebrows, eyes, and mouth, are considered separately. There is a robust amount of psycholinguistic research that provides insight into the relationship between facial cues and speech, both for infants in their first language and learners of additional languages. The focus here is on only a few of many studies on facial cues specifically involving the mouth, and the perception, comprehension, and production of speech that are germane to the discussion on mask wearing in the classroom and virtual instruction. The importance of pairing visuals with audio is evident in our daily lives. Jesse and Massaro make reference to an everyday context of this phenomenon in the title of their article, "Seeing a Singer Helps Comprehension of the Song's Lyrics." Similarly, perceiving and comprehending spoken speech is not solely an auditory [End Page 111] endeavor. Humans begin pairing visuals with sound as infants. Facial movements provide visual cues that complement the auditory content, particularly in the case of lip movements as they are directly related to speech perception and comprehension. The combination of head and facial movements coupled with speech is referred to as visual prosody (Graf et al. 396). Visual prosody has been shown to contribute to speech perception in infants, who pay more attention to the audio aspect of speech when it is paired with synchronized visual information displaying mouth movement (Blossom and Morgan 9; Hollich et al. 607). Sueyoshi and Hardison propose: "Lip movements are the primary, though perhaps not the sole, source of facial cues to speech" (665). Additional research discusses how perception of speech is manifested after infancy in language learners' comprehension and production of foreign language. Sueyoshi and Hardison investigated how facial cues from lip movements affect intermediate and advanced university-level ESL learners' listening comprehension of informal, conversational-style speech resembling that of a typical academic setting (669). Participants were divided into three groups. One group received audiovisual, gesture, and face input, the second received audiovisual and face input, and the third received only audio input (673). Participants in the audiovisualgesture-face and the audiovisual-face groups performed better on a listening comprehension task than the audio-only group (685). Reisberg et al. reported that native speakers of English learning French were better able to mimic French sentences when they were presented in an audiovisual format allowing for lip reading rather than an audio-only format. Inceoglu states, in regard to specific sounds, that learners of French often find the perception and production of the sounds that do not exist in their first language challenging as the new sounds are not yet in their phonemic inventory (48). In a study of adult American English speakers learning French as a second language at...
Read full abstract