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A fundamental skill in OSMT.
Presentation of material in a special educational manner.

Without proper application of this skill, attempting to implement other OSMT techniques is almost pointless. The effectiveness of D1, 4H will be reduced to 10-15%, and instead of using ADT/AST (audio dubbing technique), students will be making monotonous multiple repetitions following the speaker, instead of one approach with consolidating home dubbing. This could negatively impact health, up to the risk of high-frequency hearing loss.

It is thanks to the OSMP skill that we manage to:
- maintain the dynamic and interest,
- set and reinforce the focus on experiencing the material,
- effectively process the maximum material in a unit of time.

This presentation skill can be broken down into components.

Key principles:

1.1. Being natural. The art of remaining oneself when you enter the class, as well as communicating with children as if they were adults; communicating with those who don't know the language in the same way as with those who are proficient in English.

1.1.1. Naturalness of the situation: It feels unnatural to ask a child, who already knows about colors, what color a circle is. Similarly, it seems odd when a parent asks their own child for their name. This kind of approach shifts the thought process into a translation mode. To ensure authenticity, before starting a scenario or game, imagine the situation in your native language and ask yourself if it feels normal or if it resembles a mechanical exercise in a traditional classroom setting. You can bring life to a textbook, scenario, or game by adding an introduction and creating a situation where the phrases sound natural. which the phrase will sound natural.

1.1.2. Genuine context: Maintaining the integrity of speech is key in providing an authentic context. Avoid playing with words, syllables, or letters, as it can affect authenticity.

1.1.3. Authentic manner: The manner in which something is expressed should reflect authenticity. It's important to avoid artificial or contrived language constructs.

1.1.4. Appropriate pacing: Pacing refers to the speed at which speech or actions occur. It's essential to maintain a natural pace, as too fast or too slow can sound unnatural or disrupt the flow of communication.

1.1.5. Authentic intonation: The intonation of speech plays a crucial role in expressing meaning. By adhering to this principle, we can achieve the effect of sounding correct without relying solely on rigid grammar rules.

1.2. Relating:
This approach prevents "one-way speech" or a monotonous "radio mode."

1.2.1. Passive relating:
When you listen to OSMP with your eyes closed, it feels like someone is sharing their thoughts and experiences instead of just reading from a script or explaining like in a traditional teacher-led class. By adopting a passive orientation, the teacher encourages students to do the same during their home audio dubbing.

To develop passive relating, the key is to remember to "tell, don't explain!" This liveliness becomes a habit over time, but it requires practice to consolidate the skill.

1.2.2. Active relating:
This involves going beyond the script and engaging with the students in a meaningful way. It's about asking personalized questions and making comments that relate to the student's present experience and the educational material.

In the video, active relating, also known as "jumping out of the book," is demonstrated using a textbook example. It adds a dynamic element to the lesson and facilitates better understanding and engagement.1.3. Intonational Structuring:
Intonation plays a significant role in highlighting punctuation, grammar, and recognizable patterns in speech.

1.2.2.1. Projections:
Projecting the lesson theme and current material onto yourself as the teacher and onto the students is a versatile technique. The video shows how this can be done with a textbook, but it can be applied to any material.

1.2.2.2. Provocations:
Provocations create engagement and intensify the language learning experience. For example, in a finger game, you can ask a student if they are really 3 years old, then 5 years old, and so on. This provokes speech while enhancing comprehension.

1.3. Intonational structuring:
We use intonation to highlight punctuation and grammatical constructions, many of which have recognizable intonation patterns.

1.4. Modulated speech:
Varying the speed, volume, and emphasis in speech adds interest and helps convey meaning. For instance, using pauses before introducing new characters or speeding up during listings can make the lesson more engaging.

1.5. Sinking Technique:
This technique, which is a part of 1.2, involves incorporating difficult vocabulary and challenging pronunciations in texts. Technically, it involves lowering voice volume, speaking faster, and intentionally blurring speech. It also includes the use of an "artificial introductory turn" to briefly explain concepts in a contextually understandable way before continuing the narrative.

Presentation "Greedy Gretel" (MacMillan):
In this presentation, the artificial introductory turn is used to explain the word "Greedy." Notice how the teacher immerses in character voices and uses different intonation for direct speech.

Remember the principle: "Intonation provides structure."
By following the #OSMP rules:
- Students grasp the intonational pattern from the teacher's initial presentation. They can practice pronunciation through repeated listening using professionally voiced audio recordings.
- Students can easily transition to practicing at home with audio recordings, requiring fewer repetitions to achieve the desired effect. They won't need to repeatedly imitate gestures or theatrical productions on top of monotonous drilling.
- There will be a natural reinforcement of grammatical structures through intonation. The result is that students will use correct grammar without explicitly learning the rules because it will sound natural and pleasant to the ear.

2. Common Mistakes and Difficulties in Implementing OSMPresentation.
2.1. Formal Compliance with Recommendations from Points
1.2-1.4, Losing Sight of Orientation (Point 1.1).
Here's what this looks like in practice.
Fortunately, in most cases, periodically reminding oneself of point 1.1 is sufficient to fully rectify the presentation skill.

2.2. Processing Difficult Parts in the Old-Fashioned Way "As I Was Taught".
Teachers with a traditional background have a huge temptation to ignore point 1.4.
There is a temptation to unfurl their encyclopedic knowledge on some insignificant word, to admire themselves.
The most dangerous violation is the separate slow, clear pronunciation of "difficult spots", especially if phonetic (speech therapy) exercises are involved.
If a teacher cannot abandon the traditional approach in this part, it's pointless to try implementing OSMT-teaching in their lessons or to work in an OSMT center.
Perhaps these teachers would find it much more useful to switch to any other methodology that does not require naturalness of speech.

3. Example of Material Analysis in OSMP.

4. Practical Assignment

Choose a text (from a textbook or fiction) that you can best demonstrate all components of the OSMP on.
Before the presentation, explain how you structure the presentation of the material: what to highlight intonationally, what to "drown out," etc.
Talk about this on video. This will be the stage of the preliminary presentation.
Then the presentation itself.
Record it on video.
Publish it in the master group (or in the pinned homework, if you are undergoing the practical training Junior on the portal).

5. Verification and Self-check SelfCheck + CrossControl.

5.1. Stanislavsky's Criterion.
Record yourself on video.
Watch and listen to yourself from the side.
Do you believe in yourself? Is there a feeling that you are being told something, rather than reading a book or learning English?

5.2. Stanislavsky's Cross Criterion.
Imagine yourself as a native speaker passing by the audience.
What does he hear: someone is telling something to someone, narrating, or someone is teaching someone English?

5.3. Symptom of losing dynamics.
Are you asking yourself "How can you manage to work through three units in different textbooks during one lesson?"
Then you definitely have a systemic error in implementing OSMP in practice.
Urgently ask for feedback in the master group!

5.4. Students "can't keep up with the narrator" during home audio narration.
If this is one out of eight, then "cherchez la femme".
If such a symptom is observed in the whole group, then the teacher does not observe exaggerated unevenness and orientation. Also in this case, there may be a shortcoming in working with parents in general or the presence of a negative leader among the parents of this group. One mom is enough, instilling mantras in the style of "we were not taught quite like that" in the corridor to other moms - and the most brilliant OSMTTeacher will not be able to do anything.

5.5. Students can't hold attention, quickly lose interest in the material.
Either the material is not age-appropriate or not comfortable in terms of level or not interesting to the teacher, or the teacher does not notice mistakes in the presentation of the material.
Urgently ask for feedback in the master group!