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ETL512 Assessment 5: Professional Placement Report

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Section 1: About the placement organisation

Wollondilly Library is a small but effective public library in Picton, NSW. It services the widespread Wollondilly LGA, covering approximately 2556 square kilometres and with a population density of 21.83 per square kilometre (ID Community, n.d.). New developments increased the population by 8.6% over five years (NSW Government Office of Local Government, 2023), with two-thirds living in urban settings while one-third rural (Wollondilly Library, n.d.). Wollondilly’s population is predominantly white and Australian-born, with the majority of residents identifying their ancestry as Australian, English, Irish, and Scottish (Australian Bureau of Statistics [ABS], n.d.).

Wollondilly Library’s mission statement reveals its purpose is to provide a range of information and materials to all residents, to encourage curiosity, free inquiry and lifelong learning, and to support the community’s civic, intellectual, and cultural pursuits. The team leader’s perspective is that the library exists to overcome disadvantage.

To encourage ease of browsing in the limited library space, Wollondilly Library has separate collections for Junior and Adult fiction and non-fiction, a Young Adult collection, an Adult Large Print collection, and a variety of magazines and other multimedia resources such as DVDs, CDs and audiobooks. Eresources such as Hoopla, Borrowbox, Mango, and Studiosity also support the various needs of users and supplement the physical collection, though borrowing statistics indicate most patrons (many from older generations) still prefer physical resources. In Wollondilly, 89.6% of residents only speak English at home (ABS, n.d.). As such, most of the collection is in English, though there are resources from the Adult Fiction, Adult Non-fiction and Junior Fiction collections offered in other languages along with access to the inter-library loans service.

Couples with children make up 50.6% of Wollondilly residents, compared with 44.7% of residents in NSW (ABS, n.d.). The team run several programs to provide socialisation for children and their parents while developing early literacy and encouraging positive engagement with the library. Bookbubs (ages 0-2) and Storytime (ages 2-5) run twice a week, while Sensory Storytime catering for users with diverse needs occurs once a month and is looking to expand (Wollondilly Library, 2023a).These programs provide a free activity for families who might otherwise be isolated due to a lack of parent groups in the area, while school holiday programming such as Lego Robotics, Mocktails and Monet, and HSC seminars (Wollondilly Library, 2023a) engage students with continuous learning and support the work done in local schools.

One of the challenges faced by Wollondilly Library staff is its low population density resulting in small funding allocations alongside the expectation to service all members in such a far-flung community. The Wollondilly Mobile Library van visits various locations, while the Home Library Delivery Service ensures access for users who can’t leave their homes due to disability or illness (Wollondilly Library, 2023b). For many patrons using these services, they offer a rare opportunity to engage with other members of the community and if this service did not exist could result in almost complete isolation and cut their access to information dramatically. Community Outreach programs also visit preschools and local shopping centres, ensuring positive interactions between staff and the community they serve.

Wollondilly Library also achieves its mission statement and overcomes disadvantage through its physical space and provision of ICT resources. The study spaces and meeting rooms are utlised by local students, adults, and community groups, while the Local History Room takes advantage of Wollondilly’s unique heritage to further connect with the residents. A welcoming children’s area in the Junior collection space encourages positive interactions through the provision of toys, craft, and Lego. For many residents, these quiet spaces, local history resources, and toys are unavailable without cost elsewhere. Patrons also have access to technology such as printing, computers, wifi, and assistive technology which I witnessed being used for a variety of purposes ranging from study to centrelink applications.

Without Wollondilly Library, many patrons would not be able to access these programs, resources, and services. As a result, their disadvantage would, in countless ways, become further entrenched.

Section 2: Theory into practice

My placement consolidated my understandings of the theories explored in ETL402 Literature Across the Curriculum.

Wollondilly Library’s Book Bubs (0-2 years) and Storytime (2-5 years) programs are aimed at developing early literacy and positive reader identity, while the Sensory Storytime was created in consultation with qualified special education teachers and promotes inclusive literacy practices, noted as a key component of an effective teacher-librarian’s work (Australian School Library Association [ASLA], 2014, p.14). Several adult book clubs run by library staff or by members of the public using library book kits aim to promote pleasure reading for older audiences. The mobile library van allows Wollondilly Library to provide access to users who would be otherwise unable to attend the physical branch location, and I participated in several community outreach programs including preschool visits and mobile storytimes in public spaces. These programs created a positive reading culture in the community which leads to many wide-reaching benefits for individuals and our society. The use of literature to overcome disadvantage was explored in ETL402, and several researchers support the notion that a positive reading culture can negate socio-economic disadvantage (Allington et al., 2021, p.S234; Krashen, 2011, p.7; Whitten et. al., 2016, p.48). While ETL402 focused on literature in schools, many benefits discussed in this subject were evident in the programs offered by Wollondilly Library. For instance, the Storytime program was designed around a specific weekly theme which aimed to engage readers through personal connections to content while developing valuable interpersonal and age-appropriate academic skills (Kidd & Castano, 2013, p.377; Myambo, 2016, para.1, 4; Short, 2018, p.291).

ETL402 revealed enjoyment of reading plays a crucial role in developing a person’s literacy skills and understanding of the world around them, as well as their empathy for the experiences of others (Gaiman, 2013, para. 9-10; Haven, 2007, p.vi; Krashen, 2009, p.20; Ross Johnston, 2014, p.537). I worked closely with the children’s librarian and the library assistants responsible for the Book Bubs and Storytime programs. Together we selected a variety of age-appropriate books to read with the children, including sensory board books for the Book Bubs children and picture books aiming to develop early decoding skills for the Storytime sessions. While these texts developed early literacy skills through their use of rhyme, repetition, and images, the primary consideration for staff was to ensure that the children were having a pleasurable and social reading experience. This reflects the notion explored in ETL402 that if children enjoy reading, literacy will be developed more easily (National Library of New Zealand, n.d.). Barone argues that the recent focus on cognitive elements such as decoding, comprehending and reading fluently in schools has meant that a focus on the pleasure of reading has been pushed aside, and that books are seen purely to develop skilful readers rather than as an end in themselves (2011, p.2). My placement experience emphasised that enjoyment of reading should be the focus, and that I have a responsibility to ensure that my students are engaged on an emotional or intellectual level, since this is what creates an intrinsic motivation that drives us to continue reading (Barone, 2011, p.3). Recent research reveals a strong correlation between reading volume and reading achievement and that the more children read, the higher their achievement levels (Allington et al., 2021, p.S233-S234, p.S236) and it is therefore in our best interests to focus on reading enjoyment with my students in future.

During my placement I was struck by how engaged these young readers were with the act of reading, with all children enjoying being read to or eager to interact with the books themselves. This early enjoyment of reading vastly contrasts with the attitudes presented by my high school students, reflecting the research explored in ETL402 around the decline in reading in the teen years due to:

  • Lack of positive reading role models
  • Burnout from reading programs in primary school
  • Boredom from the use of fiction texts to teach literacy
  • Parents who don’t value reading
  • Lack of time due to jobs, extracurricular activities
  • Competing interests and hobbies
  • Underdeveloped imaginations
  • Misconceptions about who reads for pleasure
  • Lack of exposure to reading
  • Lack of confidence and reading ability
  • Overcrowded curriculum and assessment demands
  • Lack of access and choice of reading materials (Dickenson, 2014, Krashen, 2011, Manuel & Carter, 2015, Whitten et. al., 2016)

Several of these barriers to reading can be ameliorated by programs such as those offered by Wollondilly Library. In particular, the social aspects of Wollondilly Library’s children and adult reading programs reinforces the importance of connection and community in developing reader identity, especially amongst teens whose information behaviours are motivated by social concerns (Jacobson, 2010, p.44). Activities such as Book Bubs, Storytime and the adult book clubs allowed library patrons to engage in conversations around literature, acting as positive reading role models while increasing enjoyment and further solidifying their identities as readers.

Section 3: Critical reflection

Seeing the practical application of the concepts studied in this course has consolidated my understanding of teacher librarianship, particularly around the issues of meeting user needs, reading for pleasure and information, the emergence of libraries as a third space providing wellbeing and other supports, collection development and library management, and the importance of advocacy and promotions.

A key aspect of teacher-librarianship is the importance of understanding and meeting our users’ needs and ensuring that we provide timely access to relevant resources (NSW Department of Education, 2017, p.3, 5, 7, 8). This degree frequently emphasised the continued need for free access to information in the digital age (Bates, 2010, para.58; Kuhlthau et al., 2008, p.3). The Australian Library and Information Association [ALIA] believes that unrestricted access to information is crucial to our freedoms and democracy (2018). Wollondilly Library’s commitment to providing access to residents despite their geographic challenges is evident through their Mobile Library Van and Home Delivery Service. In my setting I am faced with the challenge of increasingly being removed from the library space as it is used for exams, faculty testing, and other workshops. Access to reading materials is a crucial factor in promoting reading for pleasure and developing positive reader identities (Fisher & Frey, 2018, p.89). When staff and student access is cut due to circumstances beyond my control, I can adjust the model provided by Wollondilly Library to ensure that my users’ needs are still being met by encouraging online reservations, classroom deliveries, and mobile book trolleys in the playground.

Reading for pleasure is something that I’ve tried to build at my school over the past year to overcome disadvantage while improving student attainment and empathy (Lysaught, 2022a; Lysaught, 2022b; Lysaught, 2023c; Lysaught, 2023d). Wollondilly Library’s adult Book Club model, which allows groups to borrow up to ten copies of the same novel under one barcode, has inspired me in two ways. First, I can adjust this model to suit my Wide Reading Program by offering disengaged students the choice to read the same high interest, low reading level texts, with a social discussion or literature circle activity to follow. Second, I can utilise the book club kits to create a reading group among staff, which would allow us to promote reading for pleasure and showcase our own reader identities to our students as positive reading role-models.

This degree also emphasised that modern libraries are not just about books. Throughout this course it has become clear that libraries play an important role in providing wellbeing and other supports to our community, often stepping in when other services are inaccessible or unavailable (Aykanian et al., 2020; McKeown, 2016; Merga, 2020). My experience at Wollondilly Library proves this, with users utilising library resources to support centrelink applications and mental health activities. Many patrons also used the meeting room and quiet spaces for work and study, while programs such as Mocktails and Monet or Knit and Yarn provided opportunities for users to form connections with others who have similar interests. This supports the work by Hider et al. (2023, p.3-5), who noted that public library physical spaces are increasingly used as ‘third place’ community hubs which enable democracy and civic engagement. Moving forward, in my school library I can incorporate more social activities such as craft activities and gaming clubs to support student interests, friendships, and overall wellbeing.

Library management was another element where I was able to develop my practical skills. I worked alongside several members of the collections acquisitions team, helping me solidify my understanding of budget management and the importance of workflow procedures. Library hygiene is a key aspect of our role as information specialists (Fieldhouse & Marshall, 2011, p.36; Newsum, 2016, p.201), and I worked with the Children’s Librarian to weed their overcrowded junior fiction and non-fiction collections, ensuring that outdated, offensive, or incorrect resources were removed in order to make way for newer, more relevant additions. This experience showed me that I should trust in my own abilities to evaluate resources according to my selection and de-selection criteria.

Bonanno (2011) states we are at risk of becoming an invisible profession, and the terms ‘advocacy’ and ‘promotions’ are among the most popular keywords on my blog. Working alongside the Programs and Promotions Librarian, I was able to understand the importance of advocacy and promotions in a new light. Her tutelage expanded my understanding of the concept of user avatars to ensure my message reaches its appropriate audience, as well as a focus on three content pillars to ensure that my values are clearly expressed.

Overall, this workplace learning opportunity left me with renewed confidence in my understandings and helped remind me that even though I feel overwhelmed in my role much of the time, I am on the right track! It was especially heartening to note that Wollondilly Library has a team of people who each specialise in one role, whereas I am expected to take on all those tasks in my capacity as a teacher librarian.

 

 

Word count: 2299

References

Albitz, B., Avery, C., & Zabel, D. (Eds.). (2014). Rethinking collection development and management. ABC-CLIO, LLC.

Allington, R. L., & McGill-Franzen, A. M. (2021). Reading Volume and Reading Achievement: A Review of Recent Research. Reading Research Quarterly, 56(1), S231–S238. https://doi.org/10.1002/rrq.404

Australian Bureau of Statistics (n.d.). Wollondilly: 2021 census all persons quickstats. https://abs.gov.au/census/find-census-data/quickstats/2021/LGA18400

Australia Library and Information Association [ALIA] (2018). ALIA free access to information statement. https://read.alia.org.au/alia-free-access-information-statement

Australian School Library Association [ASLA] (2014). Evidence guide for teacher librarians in the highly accomplished career stage: Australian professional standards for teachers.

Aykanian, A., Morton, P., Trawver, K., Victorson, L., Preskitt, S., & Street, K. (2020). Library-Based Field Placements: Meeting the Diverse Needs of Patrons, Including Those Experiencing Homelessness. Journal of Social Work Education, 56(1), S72–S80. https://doi.org/10.1080/10437797.2020.1723757

Barone, D. M. (2011). Children’s literature in the classroom: Engaging lifelong readers. Guilford Press.

Bates, M. J. (2010). Information Behavior. Encyclopedia of Library and Information Sciences, 3rd Ed. 2381-2391. https://pages.gseis.ucla.edu/faculty/bates/articles/information-behavior.html

Bonanno, K. (2011). Keynote speaker: A profession at the tipping point. Vimeo. https://vimeo.com/31003940

Dickenson, D. (2014). Children and reading: literature review. University of Western Sydney, Australian Government, and Australia Council for the Arts.

Evans, G. E., & Saponaro, M. Z. (2012). Library and information science text: Collection management basics. ABC-CLIO, LLC.

Fieldhouse, M., Marshall, A. (2011). Collection development in the digital age.

Fisher, D., & Frey, N. (2018). Raise reading volume through access, choice, discussion, and book talks. The Reading Teacher, 72(1), 89-97.

Gaiman, N. (2013, October 16). Why our future depends on libraries, reading and daydreaming. The Guardian. https://www.theguardian.com/books/2013/oct/15/neil-gaiman-future-libraries-reading-daydreaming

Gregory, V. L. (2011). Collection development and management for 21st century library collections: An introduction. American Library Association.

Haven, K. F. (2007). Story proof: the science behind the startling power of story. ABC-Clio, LLC.

Hider, P., Garner, J., Wakeling, S., & Jamali Mahmuei, H. R. (2023). “Part of My Daily Life”: The importance of public libraries as physical spaces. Public Library Quarterly, 42(2), 190-219. https://doi.org/10.1080/01616846.2022.2092347

ID community (n.d.). Wollondilly Shire Council: community profile.

https://profile.id.com.au/wollondilly/about#:~:text=The%202022%20Estimated%20Resident%20Population,21.83%20persons%20per%20square%20km.

Jacobson, Harris, Frances (2010). Found It on the Internet: Coming of Age Online. American Library Association.

Kidd, D. C., & Castano, E. (2013). Reading literary fiction improves theory of mind. Science 342(6156), 377-380.

Krashen, S. D. (2009). Anything but reading. Knowledge Quest 37(5), 8.

Krashen, S. D. (2011). Free voluntary reading. ABC-CLIO, LLC.

Kuhlthau, C. C., Heinstrom, J., & Todd, R. J. (2008). The ‘information search process’ revisited: is the model still useful? Information Research, 13(4). http://informationr.net/ir/13-4/paper355.html

Lysaught, D. (2022a, January 27). ETL402 assessment 2 part b: Reflective blog post. All You Read Is Love. https://thinkspace.csu.edu.au/allyoureadislove/2022/01/27/etl402-assessment-2-part-b-reflective-blog-post/

Lysaught, D. (2022b, August 28). ETL533 assessment 2 part b: Critical reflection of digital literature experiences. All You Read Is Love. https://thinkspace.csu.edu.au/allyoureadislove/2022/08/28/etl533-assessment-2-part-b-critical-reflection-of-digital-literature-experiences/

Lysaught, D. (2023c, March 5). Annual library report 2022. All You Read Is Love. https://thinkspace.csu.edu.au/allyoureadislove/2023/03/05/annual-library-report-2022/

Lysaught, D. (2023d, May 7). ETL504 5.2 & 5.3: Servant leadership. All You Read Is Love. https://thinkspace.csu.edu.au/allyoureadislove/2023/05/07/etl504-5-2-5-3-servant-leadership/

Manuel, J., & Carter, D. (2015). Current and historical perspectives on Australian teenagers’ reading practices and preferences. Australian Journal of Language and Literacy 38(2), 115-128.

Mckeown, A. (2016). Overcoming Information Poverty: Investigating the Role of Public Libraries in The Twenty-First Century. Chandos Publishing.

Merga, M. (2020). How Can School Libraries Support Student Wellbeing? Evidence and Implications for Further Research, Journal of Library Administration, 60(6), 660–673, DOI: 10.1080/01930826.2020.1773718

Myambo, M. T. (2016, January 26). How reading fiction can help students understand the real world. The Conversation.  https://theconversation.com/amp/how-reading-fiction-can-help-students-understand-the-real-world-52908

National Library of New Zealand (n.d.). Reading for pleasure – a door to success. https://natlib.govt.nz/schools/reading-engagement/understanding-reading-engagement/reading-for-pleasure-a-door-to-success

Newsum, J. M. (2016). School collection development and resource management in digitally rich environments: An Initial Literature Review. School Libraries Worldwide, 22(1), 97–109.

NSW Department of Education [NSW DoE] (2017). Handbook for School Libraries. https://education.nsw.gov.au/teaching-and-learning/curriculum/learning-across-the-curriculum/school-libraries/your-library

NSW Government Office of Local Government (2023). 2020/2021 Wollondilly. Your Council. https://www.yourcouncil.nsw.gov.au/council-data/wollondilly-1674451854/

Ross Johnston, R. (2014). Literary literacies: digital, cultural, narrative, critical and deep literacies. In Winch, G., Ross Johnston, R., March, P., Ljungdahl, L., & Holliday, M. (eds.) Literacy: Reading, writing and children’s literature.

Short, K. G. (2018). What’s trending in children’s literature and why it matters. Language Arts 95(5), 287-298.

Warner, M. (2013, May). Welcome to the hybrid age of reading. Christian Futures. http://www.christianfutures.com/welcome-to-the-hybrid-age-of-reading-how-we-read-affects-what-we-read

Whitten, C., Labby, S., & Sullivan, S. L. (2016). The impact of pleasure reading on academic success. The Journal of Multidisciplinary Graduate Research 2(4), 48-64.

Wollondilly Library (n.d.). Draft collection development policy.

Wollondilly Library (2023a). Events. https://www.library.wollondilly.nsw.gov.au/events/

Wollondilly Library (2023b). Services. https://www.library.wollondilly.nsw.gov.au/services/

 

ETL504 2.3: Promoting the Teacher-Librarian’s Visibility and Value

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How can we take the perception of the TL’s role from the keeper and stamper of books in the quiet place to something different?

I think it’s fair to say that as a profession teacher-librarians have an image problem. Way back at the start of this degree I wrote about Bonanno’s keynote speech in which she described teacher-librarians as an ‘invisible profession’ (Lysaught, August 29 2021a) and the misconception that the library is purely about books (Lysaught, August 29 2021b). A 2021 study revealed that in the US, teacher-librarian numbers declined 20% in the past decade (Ingram, July 19, 2021), and this trend of shrinking school libraries is being replicated in Australia (Tidball, February 10, 2023) alongside stagnating or declining budgets, staffing levels, and staff engagement or support (Softlink, 2022, p.6-7).

Maybe, like a good dancer, we make our work look effortless. Maybe too much of what we do is in the background of busy teachers’ days. One thing that’s for sure is that we need to work on improving our visibility and perceived value to our school community if we are to ensure the future of our profession (Weisburg, 2020).

Moir, Hattie and Jansen (2014, p.37) identified a number of key attributes that teachers perceived as important for leaders:

They also state that “Trust is often best developed in team environments, as then there is opportunity for collaboration and shared decision-making, especially when there is a common focus on improving teaching and learning” (p.39). Bush and Glover (2014, p.554) also discuss the idea of leadership as influence rather than stemming from formal authority, which suits teacher-librarians since we often lack official leadership positions in school hierarchies. Both discussions relate beautifully to the work of the teacher-librarian as literacy expert and information specialist, and they highlight a key way that teacher-librarians can both improve their visibility and their perceived value to their school community through collaborative programming, teaching, and assessment which supports the work of time-poor classroom teachers.

The work of Crippen and Willows (2019, p.174) highlights the 10 characteristics of servant-leaders, and teacher-librarians are uniquely placed to assist healing for colleagues overburdened by heavy workloads, administrivia, and poor student behaviour: “Through their actions as servant leaders they are facilitating a healing process and followers often look to them for support when times are difficult or something traumatic has occurred (Barbuto and Wheeler, 2007).” Teacher-librarians can also exhibit the persuasion trait of servant-leaders: “Supovitz (2018) also describes how teacher leaders use strategies such as leading by example, earning their colleagues trust and encouraging and collaborating with their peers.” 

Another area where teacher-librarians can shift the perception of the school community is in the space surrounding emerging or rapidly changing technologies. A 2016 article notes that “By virtue of their training, relationships, systems knowledge, and instructional roles … teacher librarians are ideally suited to lead, teach, and support students and teachers in 21st century schools” (Digital Promise, 2016). Digital literature has the potential to move students from passive consumers to active creators of content while engaging them with the process and ethics of digital content creation (Lysaught, October 4 2022), and Artificial Intelligence is another emerging space where teacher-librarians can position themselves as experts to increase their visibility and perceived value (Lysaught, March 5 2023). It is imperative that we stay current with new and developing technologies to best position ourselves as experts in this field. Our expertise in copyright and the ethics of digital tools alongside our ability to connect the General Capabilities to specific learning programs is invaluable – however, we need to ensure that we’re promoting our abilities in this area and marketing collaborative teaching and planning as a benefit to time-poor teachers rather than just another thing to add to their plates. 

Weisburg (2020) argues that while there are numerous barriers to showcasing our value, as a profession we have no other option. We must make it a priority to develop our visibility and promote our value to our school community or we run the risk of becoming obsolete. Weisburg suggests that teacher-librarians should start by looking for ways to showcase what we’re already doing; social media posts, visible displays, and staff emails can promote this work among the school community, while annual library reports can increase the perception of our professionalism and showcase for senior leaders much of the behind the scenes work that goes into running a library (Lysaught, March 5 2023). Weisburg’s suggestion about speaking at P&C meetings is another interesting one which links well to our aforementioned technology expertise. The most crucial aspect of Weisburg’s article for me was the concept of “chopportunities” – “challenges that can be turned into an opportunity.” So much of what affects the library is decided without our input and while it can be tempting to fall into the “why bother?” disheartened state of mind, for our own protection (and sanity!) reframing these issues as “chopportunities” can be a way to reclaim some sense of agency and showcase the benefits we provide to our school communities. 

 

References:

Bush, T. & Glover, D. (2014). School leadership models: What do we know? School Leadership and Management, 34(5), 553-571. https://doi.org/10.1080/13632434.2014.928680

Crippen, C. & Willows, J. (2019). Connecting teacher leadership and servant leadership: A synergistic partnership. Journal of Leadership Education, 18(2), pp. 171-180. https://journalofleadershiped.org/jole_articles/connecting-teacher-leadership-and-servant-leadership-a-synergistic-partnership/

Digital Promise (2016). The new librarian: Leaders in the digital age. In SCIS Connections, (96). https://www.scisdata.com/connections/issue-96/the-new-librarian-leaders-in-the-digital-age/

Moir, S., Hattie, J. & Jansen, C. (2014). Teacher perspectives of ‘effective’ leadership in schools. Australian Educational Leader, 36(4), 36-40.

Softlink (2022). 2022 Australian and New Zealand school library survey report. https://www.softlinkint.com/resources/reports-and-whitepapers/

Weisburg, H. K. (2020). Leadership: There is no other option. Synergy, 18(1). https://slav.vic.edu.au/index.php/Synergy/article/view/369/364

ETL533 Assessment 2 Part B: Critical Reflection of Digital Literature Experiences

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In the light of your readings and your experience of different digital literatures write a critical reflection which considers the following issues:
• What makes a good digital text, what counts as one, and what purpose do digital texts serve?
• Compare your experience of reading digital texts with reading print.
• Choose the digital text you most enjoyed and discuss how you might incorporate it into a program at your institution.

As my research into digital literature has progressed, my understandings have simultaneously narrowed and blurred regarding this nebulous topic. I have encountered numerous definitions, categories, and subcategories in my research, including the commonly repeated broad distinction between the digital and the digitised (Strickland, n.d., para. 3; Hayles, 2007, para.10; Bourchardon & Heckman, 2012, p.1; Heckman & O’Sullivan, 2018, para.4). 

Many attempts to define digital literature have focused on what it is not. For instance, electronic literature is not something that can be printed (Strickland, n.d., para.3; Sargeant, 2015, p.455; Wright, 2019, para.2), thereby excluding e-books which digitise existing print texts (Writerful Books, n.d., para.10) as ‘paper-under-glass’ texts (Allan, 2017, p.22) which, while popular with publishers, do not take advantage of many potential features offered by emerging digital platforms (McGeehan et al., 2018, p.62-63). However, excluding these texts from discussions about digital literature arguably ignores their popularity and potential as learning and engagement tools, especially in schools; after all, this unit is called ‘Literature in Digital Environments’ and not ‘Digital Literature’ for a reason, and it would be unwise to eliminate digitised texts from discussion altogether. I personally prefer to read digitised e-books due to the ability to increase font size and define unknown words, yet my favoured features were missing from many of the digital texts I’ve explored so far (Lysaught, 2022a).

Other definitions focus on common features of digital texts, such as their exploitation of digital characteristics (Bourchardon & Heckman, 2012, p.1), their inherent multimodality (Walker et al., 2010, p.219; Mills & Levido, 2011, p.80; Heckman & O’Sullivan, 2018, para.11) or the way they use interactivity and connectivity to position the audience in the process of either constructing meaning or constructing the text itself (Serafini, 2013, p.403; Walsh, 2013, p.181; Bell, 2016, p.295-296; Wall, 2016, p.35; Allan, 2017, p.23-24). These multidimensional features allow readers a different experience to that of reading a traditional unidimensional printed text, with some research suggesting that changes to reading speed and navigation in digital environments can affect comprehension and memory (Jabr, 2013, para.10, 20). Lending data and anecdotal discussions in my school suggest printed texts have maintained their top position as preferred reading materials amongst both staff and students, though this may have more to do with digital poverty, lack of exposure and competing distractions on devices than the potential offered by digital texts.

Another useful categorical framework I used to structured my reviews resulted from my early combination (Lysaught, 2022b, para.2-3) of Allan (2017, p.22-23) and Unsworth’s (2006, p.2-3) distinctions between recontextualised or digitised literary texts, enhanced app or electronically augmented texts, and ‘born digital’ texts. However, my increased exposure to digital literature revealed that often digital narratives defy simplistics attempts at categorisation, with all three reviewed texts blurring boundaries depending on whose definition one applied (Lysaught, 2022c, 2022d, 2022e).

Inspired by my reviewed texts, I decided to play with the multimodal potential offered by this blog to create a word-cloud of my notes so far. Several key ideas emerge, including: a focus on the relationship between readers, authors, teachers and the act of reading; the relationship between technology and meaning-making processes; and new literacies focused on mixed media and formats such as digital devices and internet platforms.

As a result of this research, I conclude that quality digital literature involves the interplay of three core elements: multimodality, interactivity, and connectivity (whether to the world or content of the text and/or to other users and platforms). Early attempts to construct an evaluative criteria (Lysaught, 2022f) have solidified into the criteria below:

😍 = yes, love it!

🤔 = hmm … somewhat?

👎 = not really/not evident

Arguably, defining digital literature is less important in school contexts than how it can be used to support the needs, interests and abilities of the school community. I discussed in each review how these texts could effectively support teaching and learning in my school community (Lysaught, 2022c, 2022d, 2022e). Early in my journey I posited that teacher-librarians could be invaluable in aligning new pedagogies with innovative digital narratives to support time-poor staff (Lysaught, 2022g, 2022b). Anecdotal evidence suggests that digital literature is a powerful tool for engaging students as readers (Lysaught, 2022h). Moving forward, I am interested in harnessing digital literature and its associated social networking to motivate reluctant students (Lysaught, 2022a) as part of my Year 7 Wide Reading Program.

 

 

747 words.

Reference list:

Allan, C. (2017). Digital fiction: ‘Unruly object’ or literary artefact? English in Australia, 52(2), 21-27.

Bell, A. (2016). Interactional metalepsis and unnatural narratology. Narrative, 24(3), 294-310.

Bourchardon, S., & Heckman, D. (2012). Digital manipulability and digital literature. Electronic Book Review.

Hayles, K. (2007). Electronic literature: What is it? https://www.eliterature.org/pad/elp.html

Heckman, D., O’Sullivan, J. (2018). Electronic literature: contexts and poetics. Literary Studies in the Digital Age: An Evolving Anthology.

Jabr, F. (2013, April 11). The reading brain in the digital age: The science of paper versus screens. Scientific American.

Lysaught, D. (2022a, August 13). ETL533 3.2 Exploring digital forms. All you read is love. https://thinkspace.csu.edu.au/allyoureadislove/2022/08/13/etl533-3-2-exploring-digital-forms/

Lysaught, D. (2022b, August 7). ETL533 2.3: Challenges of using digital literature in the classroom. All you read is love. https://thinkspace.csu.edu.au/allyoureadislove/2022/08/07/etl533-2-3-challenges-of-using-digital-literature-in-the-classroom/

Lysaught, D. (2022c, August 28). ETL533 Assessment 2 Part A: Review 1 – Over the Top by The Canadian War Museum (n.d.). All you read is love. https://thinkspace.csu.edu.au/allyoureadislove/2022/08/28/etl533-assessment-2-part-a-review-1-over-the-top-by-the-canadian-war-museum-n-d/

Lysaught, D. (2022d, August 28). ETL533 Assessment 2 Part A: Review 2 – iPoe by iClassics Collection (2012-2015). All you read is love. https://thinkspace.csu.edu.au/allyoureadislove/2022/08/28/etl533-assessment-2-part-a-review-2-ipoe-by-iclassics-collection-2012-2015/

Lysaught, D. (2022e, August 28). ETL533 Assessment 2 Part A: Review 3 – Dracula Daily by Matt Kirkland (2021). All you read is love. https://thinkspace.csu.edu.au/allyoureadislove/2022/08/28/etl533-assessment-2-part-a-review-3-dracula-daily-by-matt-kirkland-2021/

Lysaught, D. (2022f, August 14). ETL533 Evaluating digital literature: Deeper considerations. All you read is love. https://thinkspace.csu.edu.au/allyoureadislove/2022/08/14/etl533-evaluating-digital-literature-deeper-considerations/

Lysaught, D. (2022g, July 19). ETL533 Evaluating digitally reproduced stories. All you read is love. https://thinkspace.csu.edu.au/allyoureadislove/2022/07/19/etl533-1-2-evaluating-digitally-reproduced-stories/

Lysaught, D. (2022h, July 25). ETL533 Assessment 1: Online reflective journal blog task. All you read is love. https://thinkspace.csu.edu.au/allyoureadislove/2022/07/25/etl533-assessment-1-online-reflective-journal-blog-task/

McGeehan, C., Chambers, S., & Nowakowski, J. (2018). Just because it’s digital, doesn’t mean it’s good: Evaluating digital picture books. Journal of Digital Learning in Teacher Education, 34(2), 58-70. https://doi.org/10.1080/21532974.2017.1399488

Mills, K.A., & Levido, A. (2011). iPed: pedagogy for digital text production. The Reading Teacher, 65(1), 80-91.

Sargeant, B. (2015). What is an ebook? What is a book app? And why should we care? An analysis of contemporary digital picture books. Children’s Literature in Education, 46(4), 454-466.

Serafini, F., Kachorsky, D. & Aguilera, E. (2015). Picture books 2.0: Transmedial features across narrative platforms. Journal of Children’s Literature, 41(2), 16-24.

Strickland, S. (n.d.). Born digital. Poetry Foundation. https://www.poetryfoundation.org/articles/69224/born-digital

Unsworth, L. (2006). E-literature for children: Enhancing digital literacy learning. Routledge.

Walker, S., Jameson, J., & Ryan, M. (2010). Skills and strategies for e-learning in a participatory culture (Ch. 15). In R. Sharpe, H. Beetham, & S. Freitas (Eds.), Rethinking learning for a digital age: How learners are shaping their own experiences (pp. 212-224). New York, NY: Routledge

Wall, J. (2016). Children’s literature in the digital world: how does multimodality support affective, aesthetic and critical response to narrative? by Alyson Simpson and Maureen Walsh. An extended abstract by June Wall. SCAN 35(3), 34-36.

Walsh, M. (2013). Literature in a digital environment (Ch. 13). In L. McDonald (Ed.), A literature companion for teachers. Marrickville, NSW: Primary English Teaching Association Australia (PETAA).

Wright, D. T. H. (2019, July 10). From Twitterbots to VR: 10 of the best examples of digital literature. The Conversation. https://theconversation.com/from-twitterbots-to-vr-10-of-the-best-examples-of-digital-literature-110099

Writerful Books (n.d.). New $10,000 digital literature award. https://writerfulbooks.com/digital-literature-award/

ETL533 Assessment 2 Part A: Review 3 – Dracula Daily by Matt Kirkland (2021).

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Dracula Daily (Kirkland, 2021) is an excellent example of a recontextualised or digitised literary text (Lysaught, 2022a). Kirkland has updated Stoker’s original 1897 Dracula for modern readers by recontextualising it as a narrative delivered episodically via a free email subscription. Dracula Daily conforms to many definitions of digitised works (Strickland, n.d.; Hayles, 2007, para.10; Bourchardon & Heckman, 2012, p1; Heckman & O’Sullivan, 2018, para.4), since Stoker’s original was conceived for the print medium. It might also be designated as a ‘paper-under-glass’ text (Allan, 2017, p.22). However, Kirkland’s recontextualisation cleverly utilises many features of the digital environment to enhance readers’ understanding, which is a key consideration when evaluating digital literature (Lysaught, 2022b) and not unique to ‘born digital’ texts.

Firstly, the novel’s content is largely unchanged, but Kirkland enhances the original’s epistolary form by delivering the narrative gradually to subscribers’ inboxes on the date each event occurred (Kirkland, 2022, para.1), helping readers build a sense of time. In the original, it feels like the characters speed through the plot. Dracula Daily is delivered in instalments from May to November, allowing readers to gain a sense of just how much time passes. This also builds on the original’s suspense – a key element of the Gothic genre, since readers must await the next instalment instead of reading ahead. Although this chronological delivery loses some of the original’s dramatic irony, footnotes in misordered entries remind readers of key plot points while the reader’s anticipation of the next portion emulates the characters’ anticipation as they put together the clues about Dracula. While not technically an interactive feature – an element important to digital literature (Lysaught, 2022b) – this digitised recontextualisation allows readers to form a closer vicarious connection to the characters and events than the original. 

Secondly, innovative use of email technology evokes the optimistic modernity present in Stoker’s novel. One of the key tensions in the original is the dichotomy between the modern and the traditional. By updating Stoker’s printed text to a digital environment, Kirkland has recaptured the sense of technological innovation that Mina, Jonathan and the others champion through their use of now-outdated communicative developments such as short-hand, phonographs, typewriters, and telegraphs.

Finally, Kirkland’s daily delivery and recontextualisation of Dracula in a digital format allows the expansion of the novel into other adjacent digital spaces. Towndrow and Kogut (2020, p.14, 148) argue that “digital storytelling is fundamentally an active social process” while Leu et al. (2011, p.6-8) posit that collaborative, social practices are one key difference between online and offline reading experiences. Likewise, Valenza and Stephens (2012, p.75-77) assert the relationship between author, reader, and text is evolving alongside the reading experience due to the rise of socially connected digital communities; Skaines agrees (2010, p.96, 102). Dracula Daily is popular on social media sites such as Twitter and Tumblr, with discussions expanding into new digital spaces and offering readers opportunities to connect with the text and other readers in ways Stoker could never have imagined. Stepanic (2022, p.2) notes Dracula Daily’s social media popularity taps into modern snark and meme culture. In an age of on-demand entertainment consumption, Dracula Daily harkens back to the days of ‘appointment viewing’ and allows for a flourishing “ecosystem” (Stepanic, 2022, p.2) of online content to develop, further enhancing readers’ engagement and interaction with the text in new contexts. It also democratises Stoker’s classic text, opening it up for interpretation and engagement with new audiences on new platforms.

Discussions about Dracula Daily on Twitter reveals that digital texts can move into adjacent digital spaces to enhance reader connectivity.

Likewise, Dracula Daily’s popularity on Tumblr democratises the original novel in digital spaces and keeps it relevant for modern audiences.

Dracula Daily reveals the potential for digital texts to move into adjacent online spaces and foster connection between readers and other texts, as seen through this meme.

However, this expansion into adjacent online spaces raises further questions around how we define and categorise digital texts. While I categorise Dracula Daily as a recontextualised or digitised literary text due to Kirkland’s transformation of the printed original to a digital environment, Kitson defines electronically augmented texts as ones where online resources expand opportunities for commentary, interpretation, and engagement  (2017, p.59). Dracula Daily could arguably be an electronically augmented text, highlighting the difficulty around defining nebulous digital literature. 

This text is certainly not without criticism. The email format and associated substack archive of past episodes is difficult to navigate, lacking the ability to move easily between posts. Kirkland’s digital reworking of Stoker’s original removes many peritextual elements which enhanced verisimilitude, such as the note explaining that all documents were truthful reflections of actual events. However, new peritextual features are added; each episode features funny captions which encourage the cynical, irreverent tone of the aforementioned online discussions and maintain the narrative’s relevance for modern audiences. 

The substack archive with its snarky, humorous subheading summaries of each episode’s content taps into modern attitudes towards reading.

Dracula Daily could potentially use more features offered by its new digital format, such as interactive maps, images, and sounds which could further enhance readers’ engagement and understanding. However, anecdotal discussions with students in my Year 11 English Extension class reveal it’s an engaging way to explore the original; recently I’ve enjoyed having my students run up excitedly to discuss the latest instalment. Dracula Daily could be a meaningful resource to study alongside Stoker’s Dracula, and can inspire similar recontextualisations with other texts as a learning activity to explore how we value literature and how responses to texts change over time.

 

 

814 words.

Reference list:

Allan, C. (2017). Digital fiction: ‘Unruly object’ or literary artefact? English in Australia, 52(2), 21-27.

Bourchardon, S., & Heckman, D. (2012). Digital manipulability and digital literature. Electronic Book Review.

Hayles, K. (2007). Electronic literature: What is it? https://www.eliterature.org/pad/elp.html

Heckman, D., O’Sullivan, J. (2018). Electronic literature: contexts and poetics. Literary Studies in the Digital Age: An Evolving Anthology.

Kirkland, M. (2021). Archive. Dracula Daily. https://draculadaily.substack.com/archive

Kirkland, M. (2022). About. Dracula Daily. https://draculadaily.substack.com/about

Kitson, L. (2017). Exploring opportunities for literary literacy with e-literature: To infinity and beyond. Australian Literacy Educators’ Association. Literacy Learning, 23(2), 58-68.

Leu, D. J. et al (2011). The new literacies of online reading comprehension: Expanding the literacy and learning curriculum. Journal of Adolescent & Adult Literacy, 55(1), 5-14.

Lysaught, D. (2022a, August 7). ETL533 2.3: Challenges of using digital literature in the classroom. All You Read Is Love. https://thinkspace.csu.edu.au/allyoureadislove/2022/08/07/etl533-2-3-challenges-of-using-digital-literature-in-the-classroom/

Lysaught, D. (2022b, August 14). ETL533 Evaluating digital literature: Deeper considerations. All You Read Is Love. https://thinkspace.csu.edu.au/allyoureadislove/2022/08/14/etl533-evaluating-digital-literature-deeper-considerations/

Skaines, R. L. (2010). The shifting author-reader dynamic: online novel communities as a bridge from print to digital literature. Convergence: The International Journal of Research into New Media Technologies, 16(1), 95–111.

Stepanic, S. (2022, May 20). ‘Dracula Daily’ reanimates the classic vampire novel for the age of memes and snark. The Conversation.

Strickland, S. (n.d.). Born digital. Poetry Foundation. https://www.poetryfoundation.org/articles/69224/born-digital

Towndrow, P. A., & Kogut, G. (2020). Digital storytelling for educative purposes: providing an evidence-base for classroom practice. Studies in Singapore Education: Research Innovation & Practice 1. Singapore: Springer.

Valenza, J. K., & Stephens, W. (2012). Reading remixed. Educational Leadership, 69(6), 75-78.

ETL533 3.2: Exploring Digital Forms

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Explore innovative digital literature sites. What did you enjoy most? How could you incorporate social networking sites for literature organisation and access, such as Inside a Dog, GoodReads or LibraryThing into your practice?

 

This week I explored a few of the immersive multimedia journalism resources such as K’gari and My Grandmother’s Lingo, and thought that they could be an interesting way to engage students with non-fiction texts and current affairs (typically perceived as ‘boring’ by many teens). I personally found that the multimodal, immersive nature of these resources helped me remember the key points and allowed me to connect the information in the articles to my prior knowledge and experiences very effectively.

I also looked into Beowulf in 100 Tweets, which I thought was a fantastic resource that I could easily incorporate into my Year 11 English Extension program where we look at the relationship between texts, cultures and values. I think that my students would respond well to a similar learning activity where they could take one of the texts we study and recontextualise it as a tweet or social media post to explore the ways that context affects response over time. Beowulf in 100 Tweets also linked really nicely to one that my students showed me this week: Dracula Daily, where the epistolary form of the original novel is harnessed by networking technologies such as email, Tumblr and Twitter. While anecdotal, the conversations in my classroom suggest that these types of recontextualised literary texts can be powerful and engaging learning tools.

There were some resources that I enjoyed less, however. War Horse (the app for the iPad) had a timeline along with some interesting links, videos, and interviews to help readers understand the context, but the text itself was just a digitised version of the print novel (with an accompanying audio version). I didn’t feel that this app utilised the immersive, interactive possibilities afforded by the format to enhance reader experience or support the function of the text as effectively as it could have. Likewise, Alice for the iPad seemed rather gimmicky and its ‘interactive’ elements were distracting rather than elevating my understanding and enjoyment.

I like the idea of incorporating social networking sites into my practice, since it expands my students’ sense of connection to the world of the text and allows them to feel a sense of belonging with other readers. I personally have experimented with tracking my reading journey this year via Instagram, GoodReads and The Storygraph App. While I like the way these resources use my data to help me reflect on my reading preferences and connect me with similar books and readers, I am concerned about the privacy implications of encouraging their use in my classrooms by my students, though it would be a great opportunity to discuss digital citizenship. They also take a lot of time to keep up to date, and you can see from my Instagram experiment that it has fallen by the wayside.

ETL503 4.1 Copyright Questions for Teachers and Students

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From your reading of the Smartcopying website, choose some facts you think teachers or students in your school may not be clear about. Develop two questions for each fact – one for teachers and one for students.

From my experience, a lot of people in schools don’t seem to understand that their actions are “unreasonably prejudicing” the rights of the copyright holder and misunderstand the licensing terms we operate under – I’ll admit that prior to studying for this degree I was just as ignorant. Just recently I had a DP email me to check because a staff member thought it was ok to give our students access to free book torrent sites because it was ‘educational’. I also had to step in when a Year 12 student tried photocopying an entire textbook so he could have his own copy over the holidays!

I’ve come up with the following questions:

For staff: Can I show a movie from Netflix to my class as a reward for them finishing their assessment task?

Answer: Under section 28 of the Copyright Act 1968, staff are allowed to show films, television or radio in their classrooms when it is for educational instruction and not for profit. HOWEVER, if this activity does not have an educational purpose, our school is legally required to obtain a Co-Curricular Licence to avoid copyright infringement. Also, Netflix’s Terms of Use 4.2 state that their content may not be shared with individuals beyond your household and shall not be used for public performances, with the exception of a limited number of documentaries (you can find out more here).

If you wish to legally watch a film with your class please ensure that it is a) educational and b) does not break the service provider’s Terms of Use. You can use our school’s Clickview account to avoid these issues.

For more information please refer to the following resources:

Films and Videos in Schools: https://smartcopying.edu.au/guidelines/films-and-videos/

Netflix Terms of Use: https://help.netflix.com/en/legal/termsofuse

 

For students (though staff might need reminding too!): How much can I photocopy from this textbook?

Answer: It depends. You are allowed to copy limited amounts of material without seeking permission from the copyright owner as long as you are copying for:

  • research or study
  • criticism or review
  • parody or satire
  • reporting the news.

The amount you are allowed to copy depends on whether you are unreasonably affecting the rights of the copyright owner to be fairly paid for their work. If the resource is freely available for you to purchase, you should either a) purchase your own copy; b) only photocopy a reasonable portion (a good guide is 10% or one chapter – whichever is greater); or c) seek the copyright holder’s permission to copy more.

No matter how much you copy, you should be labeling it with the details of the copyright owner/author, the name of the resource, where it was copied from, and when it was copied. Where possible, try to copy only what is absolutely necessary or link to the original material instead. Using Creative Commons licensed material will also help you avoid copyright infringement.

For more information about photocopying, please explore the following resources:

Students and Copyright: https://smartcopying.edu.au/students-and-copyright/

Scanning – What am I allowed to do? https://smartcopying.edu.au/scanning-what-am-i-allowed-to-do/

 

Another student in this unit also posed this question, which I think is a great example of how social media in the school context can totally confuse the issue. I’ve copied the information here for future reference, since I’m now a member of the school’s Social Media Committee:

A student is filmed playing a copyrighted song. Can this recording be shared via the school’s Facebook page?

Answer: From https://smartcopying.edu.au/music-copyright-guide-for-schools/

Making audio or video recordings

Under the School Event Licence schools are able to make recordings (this includes both visual and audio recordings):

  • of school events at which musical works are performed or a sound recording is played
  • to play at a school event (eg copying music to CD or MP3 to play at a school graduation)
  • to include in a video or electronic presentation (eg classroom PowerPoint slides, or in presentations at assemblies or functions)
  • to play in class, whether face-to-face or virtual (eg in order to play musical works and sound recordings relevant to material being studied).

The recordings made by the school should display the following notice:

‘This recording has been made under a licence from AMCOS and ARIA for school purposes only’.

Schools must also display the following details of each musical work captured in the recording:

  • the title
  • the composer/arranger
  • the artist and recording company (if the school is using a backing track).

Schools can also authorise members of the school community to make recordings of music performed at school events for private and domestic listening or viewing by members of the school community (eg parents, guardians and friends can make a video of a presentation night at which the school band played).

Recording a school event

Schools can make a recording (including an audio or video recording) of a school event at which musical works are performed and/or sound recordings are played. Schools can also synchronise a musical work or sound recording with an existing recording of a school event (eg to add a backing track).

Remember to label the recording in the following way:

‘This recording has been made under a licence from AMCOS and ARIA for school purposes only’.

You must also display the following details of each musical work captured in the recording:

  • the title
  • the composer/arranger
  • the artist and recording company (if you are using a backing track).

For example, you could have this information flash up in the final credits.

What can I do with the recording of our school event?

Schools can do the following with recordings of their schools event(s):

  • upload the recording to the school website
  • upload the recordings to a password protected school server, intranet or DTE and make this available to parents, guardians and students. For example if parents and guardians are unable to attend an assembly or graduation day, the school could send them a link to the recording on the school’s password protected intranet and allow them to download a copy for their private use.
  • upload the recording to an app that is being used by the school for internal school communications to members of the school community, such as Schoolbag, Seesaw, Compass and SZapp. This is limited to apps being used by the school for internal school communications, and would not include apps like Snapchat or TikTok.
  • email/message a copy or make a physical copy of the recording (eg copy it on to a USB) and distribute it (for a no cost or on a cost-recovery basis) to members of the school community (eg students and parents or guardians)
  • provide a digital or physical copy of the recording to third parties , including other schools and administering bodies, for the purpose of events the school is or would like to participate in (eg competitions and festivals)
  • stream a live communication of the school event from the school’s website.

Uploading a recording or live streaming a school event to social media

Schools can rely on the school’s music licences to upload recordings of their school events, or live stream their school events, to the school’s official social medial page on social media platforms such as Facebook and YouTube. In order to communicate (ie make available) those recordings from those social media pages, school can rely on the licences that APRA AMCOS and record labels have with the social media platforms.

Note, that where a musical work or sound recording is being performed or played at a school event, the post may still be blocked or muted, see ‘Blocking or muting of events on social media’ below.

Blocking or muting of events on social media

Music recording companies (ie record labels) and some music publishers use software to identify potentially infringing content on social media platforms, such as Facebook. When a school live streams a performance where a musical work or sound recording is being played, or uploads a musical work or sound recording, this software may alert Facebook or other social media platforms to mute the recording or send a takedown notice to the school. If you are concerned about a live stream or recording being muted or your school being issued with a take-down notice, contact the National Copyright Unit.

Alternatively, you may want to consider uploading the recording to your school website or password protected digital teaching environment or intranet.

ETL402 2A: Introduction to Children’s Literature

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As an English teacher, I am already quite familiar with children’s literature and the benefits of reading for pleasure. Nonetheless, it has been interesting starting this subject to consider recent research and trends in this area.

One thing mentioned in the research that I can definitely back up with anecdotal observation is the trend for interest in reading for pleasure to drop off between the ages of 9-12. The research mentioned that this could be because of competing demands on children’s time as they get older and a growing sense that reading for pleasure isn’t valued as a leisure activity, especially in contrast with competing entertainment platforms such as the internet and gaming. I also think that for many students their identity as ‘non-readers’ and the perception that reading is something ‘nerdy’ only done by a specific type of person has been established by the time they hit high school. This issue seems to be compounded by the limited amount of books relevant to struggling teen readers (especially boys!). If a student has a lower reading ability in high school they are often limited to texts where the content (characters, events, themes) is more relevant for a younger audience; it would be nice if publishers recognised the need for age-appropriate content and cover designs on easy-to-read books. This is perhaps one area where the flexibility of ebooks and audiobooks could be highlighted by school librarians as a potential solution for students who perceive themselves as ‘struggling readers’.

Also supported by my own observations are the statements in the research about the continued popularity of series fiction. The students who regularly borrow from our school library are often borrowing texts from the same authors or series, which shows that once you hook a reader with a specific set of characters or world they are more likely to continue to engage due to the comfort of familiarity. Many of our manga series such as My Hero Academia,  Death Note, Fullmetal Alchemist, and Fairy Tale are incredibly popular and many of the students read them as a friendship group, which increases their cultural capital within that group. Teacher librarians could capitalise on this by promoting Book Clubs where students and staff read from a curated book list and discuss their experiences of reading these texts. These book clubs can also serve the purpose of reframing student perceptions about who counts as a ‘reader’. Series fiction is also incredibly popular, with titles such as the Wings of Fire and Arc of the Scythe series providing students a chance to engage with an imagined world over the course of several books. Teacher librarians can capitalise on the popularity of these texts by promoting fan-fic activities and through displays recommending their next reads based on their previous favourites.

It can be hard to keep up with trends in children’s literature. One strategy that teacher librarians can utilise is to follow websites and blogs such as Goodreads and Booktopia. Another is to use technology and social media platforms as a way of tracking popular resources, such as the #booktok or #bookstagram tags. A third is to regularly visit bookstores and local libraries (either the physical location or their online space) to see which books are popular right now and engage with the people selling and promoting these resources in a different setting. Most important is the need for teacher librarians to carve out time for their own reading of these texts. Not only will this allow us to engage in meaningful conversations with our students about these texts (increasing our own cultural capital i.e. ‘cool’ factor with certain groups of students!) but it will also allow us to show that reading for pleasure is a valuable activity that should be likewise valued by our school community. It’s hard for us to advocate for the importance of reading for pleasure if we aren’t taking the time to walk the walk (or read the read, as the case may be).

ETL401 3.2 The Role of the Teacher Librarian: LIBERating Our Perceptions

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It has been an absolutely INSANE time over the last few weeks. Teaching online, HSC assessment marking and reporting, and my own preparation for the second ETL401 assessment have left me feeling a little brain-dead. I’m therefore going to start this post by channeling my inner high-school debater and turning to the good book – i.e. the Dictionary – for guidance:

English: library (derived from Latin liber meaning “book”)

German: bücherei (roughly translates to “bookery”)

Spanish and Italian: biblioteca (from Ancient Greek bibliothekē meaning library; derived from biblio “book” + theke “place, box, receptacle”)

French: bibliotheque (as above).

Mandarin: 图书馆 [Túshū guǎn] (meaning “picture or image” + “book” + “gallery”)

I could go on, but I feel that my point is becoming clear. In many languages around the world, libraries are etymologically associated with the idea of “books” and this public perception persists regarding the role of the Teacher Librarian in schools. However, when we examine the day to day functions of TLs, the complexity of the position becomes apparent and books, wonderful as they are, are often not at the centre of academic or practitioner descriptions of our role.

In his comprehensive (if older) review, Herring (2007) argues that libraries should be seen as “a centre of learning first and a centre of resources second” (p.27). Books, fundamentally useful resources for learning though they are, therefore should not necessarily be the priority of TLs in the current information landscape. He states that many school library mission statements give “unnecessary prominence” (p.27) to the idea of reading as central to the school library’s purpose. Although I would argue that libraries certainly do have the capacity to support the development of reading for pleasure (especially given that many classroom teachers are dealing with overcrowded curricula and often feel they lack the necessary skills, particularly in the secondary setting), Herring emphasises the importance of TLs primarily as specialist teachers of information literacy who lead the collaborative development of learning programs and resource collections to meet the needs of their students and staff, with the end goal of allowing them to become independent, life-long learners. In Figure 2.1 (p.30), Herring lists the following roles as integral: teacher; librarian; information services manager; information literacy leader; information specialist; curriculum leader; instructional partner; website developer; budget manager; staff manager; fiction and non-fiction advocate. Based on my experience, I feel that he leaves out: PR and marketing manager; ICT support; technology resource manager; casual cover supervision; counselling service; diplomats; inclusivity advocate; and interior designer. Nonetheless, his list is quite comprehensive and useful for understanding the vast array of roles we are expected to fill. Teacher librarians function as the glue that holds everything together; it seems we have to fit into all the nooks and crannies to do our jobs!

Within his analysis, Herring referenced a number of different professional documents from around the world. ASLA (2003) focused on three key roles of the TL: 1) curriculum leader; 2) information specialist; 3) information service manager. A 1998 publication from the United States listed our roles as: 1) teacher; 2) instructional partner; 3) information specialist; 4) program administrator. A Canadian document published in 2005 emphasised TLs leadership in: 1) information literacy and inquiry processes; 2) ICT; 3) teaching and curriculum planning; 4) collection management. A UK publication (2004) emphasised the proactive role TLs must play in innovations for education, which supports the positions held by Bonanno (2011) and Valenza (2010). Ultimately, TLs must be flexible and ready to adapt to the changing needs of the information landscape, and our function as information specialists is primarily an “educational as opposed to an administrative role” (Herring, 2007, p.32). Drawing from Herring’s analysis, I conclude that our role in collection management and as information service providers should be framed by our role as information specialists, and determined by the interests and needs of our school community – staff, students, and parents alike. Teacher Librarians are no longer limited to books but must expand into the digital world to ensure that we are relevant to our community, effectively promoting our skills, services, and resources, and engaging our students with meaningful opportunities to participate in their own learning.

Purcell (2010) boils our function down to five key roles: leader, instructional partner, information specialist, teacher, and program administrator. Information clearly plays a role in many of these areas, supporting Sheerman’s argument that “A TL’s primary role is that of an information specialist, trained in the teaching and integration of information literacy skills and inquiry skills across the curriculum, as well as being a library collection manager” (2013, p.4). Although books certainly do play a part as tools of teaching and learning, they are not explicitly mentioned in either Purcell’s or Sheerman’s analysis.

I thought Purcell’s idea to keep a diary of each day’s required tasks was a great way to understand how these roles function in my school context and to help me understand how better to serve the specific needs of my community. I’d actually read Purcell’s article as preparation for my first ETL401 assessment, so it was interesting to revisit her arguments now that wider reading has granted me a (hopefully) deeper understanding of the TLs position in schools. In particular, her emphasis on the need for TLs to effectively promote themselves and their library was instrumental in developing my line of inquiry for the second ETL401 assessment task, where I explored the way that social media platforms influence our relationship with information and each other, and the implications that this has for TLs.

In her 2011 deconstruction of the TL’s varied roles, Lamb used the acronym PALETTE to examine the knowledge, skills, attitudes, and dispositions we will need moving into the future. Her concept of the Media Specialist’s PALETTE included a focus on: People; Administration; Learning; Electronic information; Technology; Teaching; and Environments. Interestingly, Lamb also identified the importance of promotion and advocacy in this changing environment: “If the school media specialist is to survive … [they] must demonstrate their value” (p.35). While they don’t state it explicitly, both Purcell and Lamb emphasise that modern TLs play vital roles as Social Media Manager, Customer Engagement Analyst, and Chief Marketing and Promotions Director.

I thought that it was interesting that Valenza’s 2010 “Revised Manifesto” was published around the same time as Bonanno’s 2011 ASLA speech, since both emphasised that attitude is a key element to the TL’s success: “not moving forward is not an option” (Valenza, 2010, para. 3). There was clearly a significant amount of ennui and existential angst amongst TLs at the start of this decade! Valenza was one of the few authors who explored the idea of reading in the context of the TL’s role, yet interestingly the focus was still not on traditional books, but instead shifted to encompass new technologies and formats: “You expand your notion of collection” (para. 40). Valenza’s manifesto, similar to so many discussed previously, discussed how TLs must be flexible, innovative and relevant regarding the changing information landscape, our collection development, our commitment to providing equitable access for all students, the importance of collaborating with our audience at all levels, teaching and modelling ethical information behaviours, implementing new technologies in meaningful ways, providing opportunities to professionally develop our staff (this was in line with Sheerman’s 2013 Guided Inquiry approach), and to provide opportunites for our students to become lifelong learners. While I fundamentally disagreed with the premise that we should be actively available 24/7, there were nonetheless a variety of useful, practical suggestions in this manifesto which I can see myself testing or adapting in future.

As Herring so astutely noted, “it is clear that no teacher librarian could fulfill all of these roles at the same time” (2007, p.31). I wholeheartedly agree as I sit here fighting down the rising tide of panic at the thought of being everything, to everyone, at all times. Have I bitten off more than I can chew? Just between you and me, I found it interesting that (in addition to limited references to books) none of these examinations referenced one of the most common functions I personally have been called upon to perform in my new capacity as TL: armchair psychologist, ersatz counsellor, and life-coach. The centrality of the TL to the school community (coupled perhaps with the misconception of abundant time) has led many students (and staff!) to seek out my advice for all manner of issues. While I am grateful to be trusted in this way and to have the potential to positively impact my school community through these meaningful connections, it does highlight one of the issues consistently raised in the above readings: that TLs MUST promote their services, skills, and resources effectively to dispel misunderstandings and misconceptions about our role. This promotion, in my school context at least, seems to be the biggest area of need and one from which all other aspects of the role spring. After all, I could have amazing, collaborative programmes and resources which will ultimately fail to make an impact if no one knows about them or engages with them. In order to facilitate this priority, I am working very closely with the lovely support and administration staff, the Communications Committee, and a newly minted Student Media Team. It is difficult considering the misconceptions around our position, but I am also trying to follow Herring’s advice and focus on my educational, not administrative role for the time being.

I will leave you with one final thought: a word cloud of this blog post. Hopefully this will visually illustrate the complex, varied, multifaceted roles expected of a modern teacher librarian. We aren’t just about the books; let’s liber-ate ourselves!

ETL401 3.2 The Role of the Teacher Librarian: An Invisible Profession?

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ASLA 2011. Karen Bonanno, Keynote speaker: A profession at the tipping point: Time to change the game plan from CSU-SIS Learning Centre on Vimeo.

In her speech, Bonanno raised several cogent points about the roles of Teacher Librarians and the risk we face of becoming an “invisible profession” if we fail to promote our skills, resources, and services effectively to our school community. By adapting the Five Finger Plan to Success to the TL’s context, Bonanno emphasised that we need to understand our strength of character, FOCUS (know the outcome and follow it until achieved), understand and develop our brand (with special consideration of the values we stand for), build relationships with the 10-30% of staff who are likely to work with us(particularly with key figures such as Principals), and consider the little things we can do each day to add value to our school community.

I found Bonanno’s perspective refreshing in many ways. The key message that we should reframe the difficulties we experience as opportunities to promote our continuing relevance was something that I personally found quite relevant given the overall (and largely understandable!) negativity among the wider teaching profession in our current climate. I loved the idea of “claim your space” and have been working over the last few weeks to build a social media presence for our school library in an attempt to promote our online library resources and recent reading initiatives, such as the staff and student Book Club. Bonanno’s message, along with Vanessa Trower’s Edutech presentation “The Learning Brand: What Marketing Has Taught Us Learning Professionals to Drive Engagement and a Learning Culture”, revealed a variety of strategies that I can utilise moving forward as I “claim” this virtual space on social media. This is especially important considering that while we are learning from home we cannot access our physical library spaces!

One final thought: it is interesting that in many discussions about the TLs role in academic and practitioner content that there is limited reference to the importance of marketing and promotions. So many people have identified that the key roles of TLs include our capacity as information specialists, instructional partners, ICT experts, and resource managers. Yet it seems that if we do not effectively promote these skills and services, we do in fact risk becoming an “invisible profession.” It up to us to ensure that this does not happen.