1 Introduction

The development of grammar teaching in Chinese as a second language instruction is reviewed, tracing its evolution from an early focus on language structures to later emphasis on integrating grammar, semantics, and pragmatics, highlighting that teaching should be learner-centered. The three stages of second language acquisition—input, internalization, and output—are introduced, underscoring that grammar acquisition also follows this process. Finally, it is explained that this paper will investigate learners' reception of grammar annotations, analyze issues in grammar input at the beginner level, and compare the design of the Performing Culture pedagogy in grammar input, internalization, and output, aiming to offer new insights for Chinese grammar teaching.

2 Issues in Grammar Input in Beginner-Level Chinese Textbooks

Issues in grammar input in beginner-level Chinese textbooks are discussed, noting that overseas students, due to limited exposure to Chinese outside the classroom, need to extend learning beyond class through flipped classrooms to enhance communicative competence. However, students' understanding and mastery of grammar annotations remain unsatisfactory, often complaining that native language annotations are difficult to comprehend. Through action research, the author investigated and analyzed grammar input in the first two volumes of "Integrated Chinese," finding that students' attitudes toward grammar annotations tend to be neutral or negative, with many perceiving the annotations as unclear, confusing, and insufficient in providing information on grammatical form, meaning, and usage. Using the example of the grammar annotation for "请" (please), students were confused because the annotation did not explain its usage and semantics within Chinese cultural contexts. The author argues that grammar annotations in beginner textbooks often start from form, neglecting the conditions under which grammatical phenomena occur and failing to consider students' acquisition and cognitive processes, leading to a disconnect between grammar learning and language communication. Lu Jianji once proposed that teaching should integrate form, meaning, and pragmatics, with a focus on pragmatics. The Performing Culture pedagogy also advocates starting grammar instruction from meaning and pragmatics.

3 Grammar Teaching in the Performing Culture Pedagogy

The Performing Culture pedagogy, pioneered by Professors Galal Walker and Mari Noda, posits that foreign language learning is not merely about acquiring linguistic symbols and knowledge but, more importantly, about learning to accomplish culturally appropriate tasks in the target culture, achieving the unity of knowledge and action. This pedagogy emphasizes the importance of cultural context in language learning, asserting that the goal of learning a foreign language is to develop the ability to establish intentions within that culture—intentions that are recognized and validated by interlocutors, while also enabling learners to comprehend others' intentions. The Performing Culture pedagogy is grammar-structure-based and context-oriented, prioritizing both grammatical accuracy and appropriateness in language use. Learning a target culture requires constructing memories of that culture, and students should repeatedly practice language use within the target cultural context. Instruction should provide contexts that simulate real communication, allowing students to experience cultural contexts and language communication through performance in situational contexts, thereby building memories. This pedagogy emphasizes five elements (PARTS) that influence communicative behavior and the final script used: specific Place, Audience, Role, Time, and Script. All learning materials should be learner-centered, serving as "learning materials" rather than traditional "teaching materials."

In terms of grammar teaching, the Performing Culture pedagogy addresses grammar through language and grammar input in learning materials, grammar internalization, and simulated grammar output in the classroom. Learning materials such as "Chinese: Communication in Culture" are entirely designed for student use, accompanied by carefully produced multimedia materials. Before language input, brief English introductions guide students in self-study, indicating the language functions to be learned. Through comparisons between Chinese and the students' native language, attention is captured, enhancing learner autonomy and reducing anxiety. During language input, the materials provide communication scripts and the contexts in which they occur, followed by explanations of character roles and relationships, as well as communicative intentions, revealing pragmatic conditions and semantics. Detailed explanations of the scripts and their linguistic elements (including grammar) then help students understand the communication scripts and grasp language structures. For example, when explaining the interrogative word "哪儿" (where) and the verb "在" (to be at), the teaching combines the communication script to point out Hua Xiaohui's question, explains the function and variations of "哪儿," emphasizes the importance of tonal differences, elaborates on the usage of "在" and peculiarities of Chinese such as the position of location words, omission of known information, and positions of interrogatives and answers, integrating grammar explanations with example sentences from the communication scripts. After explanations, new vocabulary and phrases are presented, grouped by category, with key words provided with multiple example sentences to help students better master and internalize them. The materials emphasize thorough mastery of the content and regular review. This approach to language input starts from the cultural context, introduces the communicative language, elaborates on contextual elements and communicative intentions, and then introduces grammar rules. Explanations of grammar structures are closely linked to communication scripts, aiding students in understanding the meaning, usage, and form of grammar while reinforcing formal features to draw attention.

During the grammar internalization stage, vocabulary and phrases are followed by grammar drills, which are crucial for students to internalize grammar input. Each section of Performing Culture learning materials revolves around specific language functions, with every exercise focused on communicative functions, using communicative intentions as subtitles to detail the language communication, interlocutors' intentions, and students' tasks. During drills, the materials provide examples, then have students practice, simulating actual oral communication. Multimedia presents questions, and students, after listening, respond based on visual cues, avoiding mechanical sentence pattern substitution and making learning more active and effective. These grammar drills offer more practice in cultural contexts, helping students internalize language communication within cultural settings and build memories through repeated performance. Drills begin with language communication in cultural contexts, determine communicative functions and intended meanings, and then consider grammatical forms, enabling students to understand communicative contexts, intentions, content, and modes of expression.

Regarding simulated grammar output in the classroom, the Performing Culture pedagogy advocates for flipped classrooms, where students self-study explanations in the learning materials before class to comprehend language and grammar input, and complete drills to internalize language communication and grammar usage. In class, teachers provide opportunities for simulated output through performance, emphasizing simulated real cultural communication contexts in performance sessions, allowing students to repeatedly practice, with teachers offering timely feedback to help students better use language for communication. When necessary, teachers conduct quick drills on poorly mastered grammar points in class and give students opportunities to use corrected language again after error correction. Performance classes are conducted entirely in Chinese, requiring students to identify cultural contexts and communicative intentions and use Chinese to accomplish communication, demonstrating acquired language abilities. The process of repeated performance helps students further internalize learning content into their interlanguage systems, reflect on the appropriateness and correctness of language use, verify hypotheses formed about the target language, and clarify doubts. Teacher feedback promotes continuous restructuring of students' interlanguage systems, bringing them closer to the target language. After participating in several performance classes, students attend an interpretation class, providing further opportunities for internalization and grammar output. At the beginner level, this may be conducted in the students' native language, covering language knowledge, cultural knowledge, comparisons between the native and target languages, and suggestions for learning strategies.

4 Insights from Performing Culture for Grammar Teaching

The insights from the Performing Culture pedagogy for grammar teaching are discussed, emphasizing grammar input, internalization, and output within cultural contexts. By simulating real communicative contexts, it helps students understand language communication and grammatical forms, ultimately enhancing their language abilities in real social interactions.