assessment – From dust jackets to digital horizons

Assignment 6 Part B: Thematic Learning and Reflection

Posted on January 19, 2023

Introduction

Prior to starting this course, my understanding of a Teacher Librarian (TL)’s role in schools was narrow, and focused primarily on the library space and maintenance of physical resources (McDonald, 2022, March 8). Since then, I have come to realise that effective TLs wear many hats and play an essential role in school learning communities through relationship-building, leadership and advocacy (McDonald, 2022, May 25).

TLs open the door to the physical library space for students and staff to read, relax, learn and inquire, but they also open doors in the digital landscape; modelling information literacy skills, supporting learning and connecting the community with quality resources. As Hill summarises, they oversee “places where the letter ‘C’ is key: create, connect, collaborate, communicate, care and change with [their] community” (2017, p. 29). Despite fear-mongering about an uncertain future for school libraries, I am excited to see that many school libraries are adapting to cater to evolving user needs and information trends (McDonald, 2022, May 28).

This semester, I completed my professional placement at Ruyton Girls’ School, which allowed me to apply my theoretical learnings so far. As I do not currently work in a school library, throughout this reflection I will refer to experiences and observations from this professional placement as evidence. Alternatively, I will outline future plans based on my developing understandings. The three themes that have captured my learning interest by inspiring and challenging me are: diverse collections, digital literature and inquiry learning.

Collection Diversity

I had never previously considered the complex process of selecting or managing appropriate collection resources in much depth. Throughout the introductory subject ETL505 Resourcing the Curriculum, I recognised the importance of developing a “learner-centred collection” which comprises resources that meet both user needs, community needs, and the broader teaching and learning context (Hughes-Hassell & Mancall, 2005, p. 35). I also learnt that TLs must strive to develop collections that are balanced, by presenting different perspectives on issues (Johnson, 2009). This is a challenging task because TLs must try to look past their own biases, as are they often the ones making decisions about which resources to purchase or provide access to (Johnson, 2018).

Many school libraries, such as Ruyton Girls’ School Library, express support for the Australian School Library Association (ASLA)’s School Library Bill of Rights. This Bill seeks to preserve the intellectual freedom of readers and ensure that school libraries offer collection resources that present different perspectives and representative of all people (ASLA, 2018, p. 1). In addition, the School Library Association of Victoria (SLAV) mandates that school libraries support learning communities by “managing and curating equitable, inclusive and diverse physical and digital collections” (2018, p.1).

In her notable essay, Rudine Sims Bishop shared the metaphor that books can be self-reflective mirrors, or they can be windows, “offering views of worlds that may be real or imagined, familiar or strange” (1990, p. 12). I have come to realise that collection materials of both kinds, windows and mirrors, are vital to library collections. Resources that are windows show readers a view of a life that is different to their own and are, arguably, more important than ever in our multicultural society, as they hold an underlying prosocial purpose.

I have also come to realise that there are certain minority voices that have, historically, not been heard, recorded, published or prioritised in library collections. In addition, there are some collection materials that cause harm by perpetuating offensive stereotypes, ideas or language. Even though some might argue that this is censorship or even ‘cancel culture’, it is an important issue as library users need to feel safe, included and represented in collection offerings (McDonald, 2022, May 20; Merga, 2022). I guess there needs to be a judgment call made as to whether controversial resources still have value for users and their needs. If not, texts that are blatantly discriminatory or pose a threat to a collection that celebrates diversity need to be weeded and removed (McDonald, 2022, March 3).

In Australia, this is particularly relevant to the inclusion of culturally safe Aboriginal and Torres Strait Islander collection materials. It also means that libraries should be striving for collections that represent diverse perspectives, not just the Eurocentric viewpoint which has historically dominated library collections. During the Virtual Study Visit, Stephen Harris spoke about Bundaberg Regional Library’s ongoing efforts to decolonise their collection. In collaboration with First Nations consultants, they are currently working on decolonising the collection so that it is sensitive and respectful to Aboriginal and Torres Strait Islander users (S. Harris, personal communication, August 24, 2022).

I was curious to see how this would play out in reality, particularly in a school library setting. My placement at Ruyton took place in a transition phase for the Library. Due to an extensive building redevelopment project, the Library was temporarily located in a portable classroom. Most of the non-fiction collection and many other physical resources had been put in storage until the new building was ready, and a significant amount of the collection had just been weeded due to outdated content, condition or other deselection criteria outlined in their Policy Manual.

The Library team showed me that collection management is an ongoing process and spoke about the importance of continually evaluating the collection so that you can step back to get a holistic picture (McDonald, 2022, May 11). There are several quantitative and qualitative methods of collection analysis that can be used to evaluate school library collections, such as collection mapping or collection management software statistics (Johnson, 2018).

In the future, when I am hopefully working in a school library, it will be important to prioritise regular collection evaluation and deselection of resources. This has prompted me to consider questions such as: where are the gaps? Whose voices aren’t being represented? What other resources that function as either windows or mirrors, does this school learning community need It is important that minority perspectives always have a place on the shelves, both physical and virtual, and that TLs actively seek out resources that are culturally diverse and celebrate neurodivergence (Corrall, 2011). I have come to realise that collection management is a collaborative process, so it would also be worthwhile giving members of the community opportunities to raise concerns if a resource is inappropriate and recommend resources that truly celebrate diversity (McDonald, 2022, June 6).

Digital Literature

Literature is known, universally, to be the core business of Teacher Librarians, as they continually stack library shelves with high quality, physical reading material. Digital technology, however, is significantly impacting the literature landscape by expanding opportunities for multimodal texts that increase user interactivity and redefine the scope of traditional paper-bound books (Lamb, 2011; McDonald, 2022, September 5).

I had never previously given much thought to digital literature before studying ETL533 Literature in Digital Environments, and how these types of texts impact school library offerings (McDonald, 2022, August 16). To be honest, I didn’t even really know what digital literature was before completing this subject – I’d accessed some eBooks before, but did the term digital literature also refer to online comics? What about text-based films? What about video games where players made choices that changed the ending?

Throughout the subject ETL533, I learnt about and accessed many different types of digital literature, such as the eBook ‘Pop Out! The Tale of Peter Rabbit’, the enhanced eBook ‘Woonyoomboo the Night Heron’ and the landmark digital native or game-based storytelling series ‘Inanimate Alice’. I have come to realise that digital literature is complex to define due to its ambiguous, ever-changing and contested nature (Rowland, 2021).

In my opinion, digital literature is often not well understood by educators who may view it as inferior to traditional paper-based literature or are unsure of how to use it in the classroom. There are also significant debates about the benefits of digital literature (e.g. eBooks) such as if it has a place in classrooms, whether the benefits are comparable to students reading paper books, and concern about additional access requirements (such as charged devices, different file types and specific digital literacy skills) compared to picking up a physical book, just to name a few (Sadokierski, 2013).

The reality is that young people are increasingly using devices to access literature (Sargeant, 2015). During my placement at Ruyton Girls’ College, I was amazed to see how many students were using their devices to access digital texts. The Library team commented that digital literature became a priority during Melbourne’s COVID-19 lockdowns, when the physical doors of the school library closed. It has also continued to be a priority during the building redevelopment project, as the majority of the collection is in storage. Through a partnership with Mentone Girls’ Grammar School, students have access to the platform Sora where they can easily borrow eBooks, magazines and audiobooks. Teacher Librarians scaffold digital literacy skills, so that the students know how to search for relevant content, manage loan limits and make suggestions about new digital titles to acquire.

I have come to appreciate the benefits of incorporating digital literature into school libraries and classrooms. As Sadokierski (2013) states, “electronic books can do certain things that print books cannot, and therein lies their value.” Quality digital literature supports differentiation in the classroom, as students can read at their own pace, and supports multiliteracy learning (Yokota & Teale, 2014). Research suggests that learners who find reading challenging and those with specific learning requirements actually benefit from interactive texts that incorporate multimodal elements and enhanced navigation and usability options (Lamb, 2011).

This is not to say that digital literature should replace paper-based literature, but be presented to students side-by-side. It is imperative that students are exposed to a variety of different text formats, both print and digital resources, as school libraries ever-strive to equip students for the “new learning ecology of the twenty-first century” (O’Connell et al., 2015, p. 195). All students should have opportunities to participate in multimodal reading experiences.

As part of ETL533, we also used technology to create our own digital story. Inspired by Inanimate Alice’, I created an original interactive digital text titled ‘Head to the Treehouse’ using Canva, Google Slides and Google Forms. The process was so enjoyable, and I could immediately see how students would find it an engaging way of showcasing their learnings and developing their digital literacy skills. It would be fantastic to work with students in future to create their own digital storytelling texts. It would also be a great opportunity to model ethical digital technology use in the classroom, such as obeying copyright laws and how to source appropriate audio-visual content (Serafini et al., 2015).

Inquiry Learning

As a teacher, I have found a natural affinity with inquiry learning which focuses on problem solving and investigation (McDonald, 2022, May 9a). This is because my pedagogical stance is largely social constructivist, asserting that learning and knowledge are built in positive, social learning environments (Adams, 2016). Inquiry learning embodies this approach through its focus on asking questions, researching, making real-world connections, communicating understandings, and reflecting as part of an inquiry community (Lupton, 2014). This focus on questioning and seeking answers empowers learners to inquire into their own areas of interest. It also signals a departure from a traditional classroom setup where teachers are experts who verbally impart information to seated students.

Throughout ETL401 Introduction to Teacher Librarianship, I was introduced to some different inquiry learning models and information literacy plans that could be used in schools. The framework that appealed to me the most was Guided Inquiry Design (GID), as it is a practical model that facilitates both the “design and implementation of inquiry units” (FitzGerald, 2018, p. 19). Importantly, the GID process is the only inquiry model with an empirical basis (FitzGerald, 2021; McDonald, 2022, May 9b). Underpinning the GID is decades of student learning research, conducted by Professor Carol Kuhlthau, which has led to the conceptualisation of the Information Search Process (ISP) (FitzGerald, 2015). ISP, validated by numerous studies, depicts the information seeking process on a timeline of six stages, acknowledging researchers’ “thoughts, feelings and actions” (Maniotes & Kuhlthau, 2014, p. 9; Kuhlthau et al., 2012). Importantly, GID encourages a learning team approach through collaborations between classroom teachers and teacher librarians (Kuhlthau et al., 2015; McDonald, 2022, May 25).

In the two schools I have worked at, the library has not offered services to support teachers in implementing inquiry learning units. This is such a shame, because I think that the school library has so much to offer students in terms of inquiry learning and understanding the research process, and that teacher and TL collaborations are mutually beneficial. I have also come to realise that from an advocacy point of view, it is important for TLs to continually promote their services to staff and showcase the value that school libraries provide to school learning communities (McDonald, 2022, May 28).

During my placement at Ruyton Girls’ School, I saw the TLs working closely with Junior School Staff as part of their term-long Collaborative Learning Investigation (CLI) units of inquiry. For example, the Year 3 students were completing a CLI unit about personal health and wellbeing. In small groups, the students had picked different topics, were conducting research (such as interviewing parents, accessing databases and reading books), and producing podcasts to communicate their findings. I assisted the Library team in creating a LibGuides page with links to student-friendly videos, website content and collection resources. I also went with the TLs to visit the Year 3 classrooms to support students with their investigations. In particular, I saw the TLs launch a referencing and citation-creation platform called Citationsy, which the students embraced quickly. The collaboration between the Year 3 teachers and the Library Team was heartening and resulted in exciting student learning outcomes.

In the future, I would like to design and implement an inquiry learning model such as GID that is linked with subject curricula. While studying ETL401, I designed a GID unit for a Year 7 English and Humanities extension class, which was subsequently published on Lee FitzGerald’s website. As much as I enjoyed putting the learning and teaching materials together, I would love to give the unit a test run. I am curious to see how students find the process and what might need to be amended or approached in a different way for next time.

Reference List

Adams, P. (2006). Exploring social constructivism: theories and practicalities. Education 3-13, 34(3), 243-257. https://doi.org/10.1080/03004270600898893

Australian School Library Association. (2018). Policy statement: School library bill of rights. https://asla.org.au/resources/Documents/Website%20Documents/Policies/Bill%20of%20Rights_2018.pdf

Bishop, R. S. (1990). Mirrors, windows and sliding glass doors. Perspectives: Choosing Books for the Classroom, 6(3), 12-13.

Bonanno, K. & FitzGerald, L. (2015). F-10 inquiry skills scope and sequence and F-10 core skills and tools. Eduwebinar Pty Ltd. https://eduwebinar.com.au/wp-content/uploads/2015/03/curriculum_mapping_scope_sequence_skills_tools.pdf

Corrall, S. (2011). The concept of collection development in the digital world. In M. Fieldhouse & A. Marshall (Eds.), Collection development in the digital age (pp. 3-25). Facet Publishing.

FitzGerald, L. (2015). Guided Inquiry in practice. Scan, 334(4), 16-17.

FitzGerald, L. (2018). Guided inquiry goes global: Evidence-based practice in action. ABC-CLIO, LLC.

FitzGerald, L. (2021). Inquiry learning and the teacher librarian: You can’t have one without the other. Access, 35(3), 16-22.

Hill, A. (2017). Australian teacher librarian of the year 2017: Reaffirming and celebrating the pivotal role of teacher librarians in our school libraries. Access, 31(3), 28-29.

Hughes-Hassell, S., & Mancall, J. C. (2005). Collection management for youth: Responding to the needs of learners. ALA Editions.

Johnson, P. (2009). Fundamentals of collection development and management (2nd ed.). ALA Editions.

Johnson, P. (2018). Fundamentals of collection development and management (4th ed.). ALA Editions.

Kerby, M. (2019). An introduction to collection development for school librarians (2nd ed.). ALA Editions.

Kuhlthau, C. C., Maniotes, L. K., & Caspari, A. K. (2012). Guided inquiry design: A framework for inquiry in your school. ABC-CLIO, LLC.

Kuhlthau, C. C., Maniotes, L. K., & Caspari, A. K. (2015). Guided inquiry: Learning in the 21^st Century (2nd ed). Libraries Unlimited.

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

Lupton, M. (2012). Inquiry skills in the Australian Curriculum. Access, 26(2), 12-18.

Maniotes, L. K., & Kuhlthau, C. (2014). Making the shift. Knowledge Quest. 43(2), 8-17.

Merga, M. K. (2022). School libraries supporting literacy and wellbeing. Facet Publishing.

O’Connell, J., Bales, J., & Mitchell, P. (2015). [R]Evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal, 64(3), 194-208.

Rowland, R. (2021, July 8). What is digital literature? Understanding the genre. Book Riot. https://bookriot.com/digital-literature/

Sadokierski, Z. (2013, November 12). What is a book in the digital age? [Blog post]. Retrieved from http://theconversation.com/what-is-a-book-in-the-digital-age-19071

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.

School Library Association of Victoria. (2018). Statement on school libraries. https://slav.org.au/resources/Documents/statement.pdf

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.

Yokota, J., & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6), 577-585.

Image Source: Photo by Brett Jordan on Unsplash

Assessment 4 Part D: Critical Reflection

Posted on October 10, 2022

The subject ETL533 has expanded my understanding of what digital literature is and the ever-burgeoning possibilities afforded by advancements in technology (McDonald, 2022, September 5a; Rowland, 2021). There is no doubt that digital texts are changing the way we read, write, create, and respond to literature (Weigel & Gardner, 2009). I personally think that this is exciting as digital technologies are transforming reading experiences in previously inconceivable ways (McDonald, 2022, July 28). It is, however, making it even more difficult to define digital literature due to features, like interactivity and non-linear narratives, that are edging digital texts “closer to the gaming or entertainment industry” and the rapid pace of developments (McDonald, 2022, September 5a; Serafini et al., 2015, p. 16).

At the beginning of this session, I was so naive about the huge variety of digital texts available. My experience was embarrassingly limited – mostly just to eBooks! I have found it helpful to learn about different categories of text formats, even though this can still be contentious (Serafini et al., 2015). According to theorist Allan, the three most popular formats enjoyed by young readers are: eBooks, apps and “born digital narratives” (2017, p. 22). It has been beneficial for me to experience and critique examples of each of these three formats, such as: Pop Out! The Tale of Peter Rabbit (McDonald, 2022, September 5b), Woonyoomboo and the Night Heron (McDonald, 2022, September 5c) and the first episode of Inanimate Alice (McDonald, 2022, September 5d). I have come to realise that while formats evolve and sophisticate, the time-honoured tradition of telling a good story remains and will always be innate to our very nature (McDonald, 2022, July 21).

As a classroom English teacher of six years, I have not yet seen digital literature featured in any subject booklists (McDonald, 2022, August 16a). I recall some early English Department discussions about using Inanimate Alice, but this was eventually outvoted due to staff apprehension about teaching a multimodal text instead of print literature (McDonald, 2022, August 16b). Since learning about the benefits of digital literature, particularly for students who have learning needs and are English language learners, I am surprised that digital texts in classrooms are still so rare (Lamb, 2011; McDonald, 2022, October 9). It has led me to wonder – why are teachers and teacher librarians hesitant to incorporate digital literature into classrooms and school libraries, and what can we do about this? I mean, surely it’s not just a lack of awareness?

I now understand there may be concerns about perceptions of quality (or the lack thereof) of digital literature, particularly when compared to canonical print texts. But to me, this only emphasises the need for evaluative criteria (Walsh, 2013; Yokota & Teale, 2014). For example, when evaluating quality digital literature, it is important that the digital features do not disrupt narrative comprehension and support the reading experience (Lamb, 2011; McDonald, 2022, July 21; Sargeant, 2015).

Other concerns that teachers have may involve perceptions of their own technology skill levels, choice overwhelm, access costs and the time required to feel confident (Curtis, 2022; Matthews, 2014; McDonald, 2022, August 16; McDonald, 2022, October 6). As Weigel & Gardner aptly distil, it’s true that using technology and digital texts in the classroom does require educators to take “several leaps of faith” (2009, p. 41) However, I genuinely don’t think these challenges should deter educators from upskilling and implementing digital literature in the classroom (McDonald, 2022, October 9).

In addition, I think that providing opportunities for students and staff to engage in digital storytelling, and to create digital texts of their own, is equally important (McDonald, 2022, October 9; Reid, 2013). Research suggests that digital storytelling is powerful and supports learner engagement, motivation, creativity, and expression of ideas (Sukovic, 2014; Towndrow & Kogut, 2020).

As I embarked on my first ever digital storytelling project, I felt some apprehension that my limited technical skills would limit my desired creation, as expressed in my written proposal (McDonald, 2022, September 3). Peer feedback was instrumental in shaping the development of my digital text, Head to the Treehouse, as well as bolstering my confidence and sparking new ideas. Stolz (2022, September 4) encouraged me to “be adventurous” in exploring platforms that would offer reader interactivity, where students could click on links to access different story elements (para. 3). Before this, I thought I would have to export a complete video file that was not interactive at all. I was thankful for Stolz’s encouragement because I decided to use Google Slides so I could embed video content in sections and utilise navigational, interactive elements. Building on this feedback, Cheetham (2022) encouraged me to consider incorporating puzzle-decoding elements to enhance the narrative, where protagonist Flo is hunting for and solving clues. This led me to use hyperlinks to Google Forms quizzes, so that readers could solve the clues too.

Finally, Muti (2022) endorsed my choice of Canva as a digital tool, and to utilise premium features. I had not even thought of subsequently prompting students to, as Muti says, “have a shot” at creating their own digital story (2022, para 2.). Her comment encouraged me to consider how I could model to students how to create a digital story, as an exemplar for them to make one of their own. This in turn, prompted me to develop a response task for students to create a digital story that concludes the narrative.

I am excited for the future of digital literature, which is far more sophisticated and engaging than my little story (McDonald, 2022, September 5a). We all need to keep advocating for the incorporation of digital literature and digital storytelling into classrooms and school libraries. This is not to rule out print texts, but to have them sit together side-by-side, as part of rich, diverse, multimodal resource collections offered to students (Yokota & Teale, 2014). Students need to experience a variety of texts, genres, and formats to prepare them for their reading futures and life beyond the school gates (Dobler, 2013; McDonald, 2022, September 9). Let’s keep this digital ball rolling.

Reference List

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

Cheetham, J. (2022, September 7). This sounds like a wonderful and appropriate story for middle to upper primary students. [Comment on “Assessment 3: Digital storytelling proposal”]. From Dust Jackets to Digital Horizons. https://thinkspace.csu.edu.au/emmamcdonald/2022/09
/03/assessment-3-digital-storytelling-proposal/

Curtis, J. (2022, September 13). Too many to choose from. [Comment on “Module 4.2 & 5.2: Digital tools”]. Interact 2: ETL533 Discussion Board. https://interact2.csu.edu.au/webapps/
discussionboard/do/message?action=list_messages&course_id=_64104_1&conf_id=_128305_1&forum_id=_282776_1&message_id=_4253513_1&nav=discussion_board_entry

Dobler, E. (2013). Looking beyond the screen: Evaluating the quality of digital books. Reading Today, 30(5), 20-21.

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

Matthews, J. (2014). Voices from the heart: the use of digital storytelling in education. The Journal of the Health Visitors’ Association: Community Practitioner, 87(1), 28-30.

Muti, A. (2022, September 4). I love your proposal, Emma! [Comment on “Assessment 3: Digital storytelling proposal”]. From Dust Jackets to Digital Horizons. https://thinkspace.csu.edu.au/
emmamcdonald/2022/09/03/assessment-3-digital-storytelling-proposal/

Reid, K. (2013). Creating e-books in the classroom. In J. Bales (Ed.), E-books in learning – a beginner’s guide (pp. 37-43). Australian School Library Association.

Rowland, R. (2021, July 8). What is digital literature? Understanding the genre. Book Riot. https://bookriot.com/digital-literature/

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.

Stolz, K. (2022, September 4). This sounds like a wonderful and appropriate story for middle to upper primary students. [Comment on “Assessment 3: Digital storytelling proposal”]. From Dust Jackets to Digital Horizons. https://thinkspace.csu.edu.au/emmamcdonald/2022/09/03
/assessment-3-digital-storytelling-proposal/

Sukovic, S. (2014). iTell: Transliteracy and digital storytelling. Australian Academic & Research Libraries, 45(3), 205-229.

Towndrow, P. A., & Kogut, G. (2020). Digital storytelling for educative purposes: Providing an evidence-base for classroom practice (1st ed.). Springer. https://doi.org/10.1007/978-981-15-8727-6

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers (pp. 181-194). Primary English Teaching Association Australia.

Weigel, M., & Gardner, H. (2009). The best of both literacies. Educational Leadership, 66(6), 38-41.

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6), 577-585.

Image Source: Image by PicJumbo from Pixabay

Assessment 4 Part B: Digital Storytelling Project

Posted on October 10, 2022

Here is the link to my finished digital storytelling project, titled ‘Head to the Treehouse’, which is viewable as an interactive Google Slides presentation.

Assessment 4 Part A: Context for Digital Storytelling Project

Posted on October 9, 2022

Head to the Treehouse is a digital text created using Canva, Google Slides, and Google Forms. Unlike traditional print-based texts, digital texts can incorporate animation, images, video, sound effects, music, and audio narration (Lamb, 2011; Matthews, 2014; Reid, 2013). They can also embed navigational and interactive features, and connect readers to digital resources and other “external platforms” beyond the text (Serafini et al., 2015, p. 18).

This digital text is suited to middle grade readers aged approximately 8–13 years old, due to language complexity and puzzle-based content that requires students to navigate different online platforms to solve clues. Specifically, the target audience is Year 5 and 6 students at Kingswood College who are taking part in the College’s ‘Wide Reading and Responding’ program which runs in conjunction with Years 5 and 6 English. There are explicit links to Year 5 English curriculum (ACELT1610, ACELT1798, ACELY1704, ACELY1707) and Year 6 English curriculum (ACELT1618, ACELT1800, ACELY1714, ACELY1717) (Australian Curriculum, Assessment and Reporting Authority, 2015a).

The purpose of the incorporating digital texts into school library programs is twofold: so that students have access to multimodal texts and can try digital storytelling themselves. Digital storytelling is, put simply, the use of digital tools to share stories (Matthews, 2014; Towndrow & Kogut, 2020). Head to the Treehouse is designed to act as a springboard for students, as, after reading, they are asked to ‘finish the ending’ and design their own digital story which draws the narrative to a close.

Engaging students in digital storytelling projects supports their ICT skill development (Reid, 2013; Tackvic, 2012, p. 429). Accordingly, this activity links to the Information and Communication Technology (ICT) Capability of the Australian Curriculum. Some relevant organising elements include: “applying social and ethical protocols and practices when using ICT”, “creating with ICT” and “communicating with ICT” (Australian Curriculum, Assessment and Reporting Authority, 2015b).

Head to the Treehouse and the associated digital storytelling activity are designed to meet the needs of Kingswood College students. The College is a small, co-educational, independent school in Box Hill South, Victoria. The Index of Community Socio-Educational Advantage value is 1147 (ACARA, 2022). Students bring their own devices, utilise the College wireless internet, and regularly access digital learning content. There are many students who are neurodiverse and have specific learning needs. The College also has multilingual Aboriginal and Torres Strait Islander students and international students who are learning English.

Head to the Treehouse is influenced by interactive digital texts, such as the landmark, born digital narrative series Inanimate Alice (Boyd, 2013; McDonald, 2022, September 5). Many young readers now expect digital content to be interactive (Sargeant, 2015). This text is an opportunity involve readers in the narrative and connect them with elements beyond the story (Walsh, 2013). Like the linear narrative in the first episode of Inanimate Alice, the protagonist of Head to the Treehouse, Flo, is trying to find a missing relative and must solve a series of clues to find out where they are (Cowdy, 2016).

Unlike Inanimate Alice, this text features audio narration, and subtitles, to assist students who need help reading independently, particularly English language learners (Lamb, 2011). Head to the Treehouse uses hyperlinks to Google Forms quizzes, where readers must answer questions or find information using the internet to solve clues (Reid, 2013). There are also two parts of the story that allow for ‘choose your own adventure’ narrative options, where students can make a choice about what happens next (Walsh, 2013). These elements all aim to enhance engagement and involve students as they solve clues alongside the protagonist. Sound effects and background music are used to enrich the immersive reading experience (Walsh, 2013). There are also navigational elements, such as ‘back’ and ‘next’ buttons, which give readers control over the story’s pace and direction (Javorsky & Trainin, 2014). Ultimately, the goal is to expose students to a quality example of a digital text, so they will be inspired to join in and make their own.

Digital texts are relevant because young people are increasingly using devices to access literature (Sargeant, 2015). Quality digital literature supports differentiation in the classroom, as students can read at their own pace, and supports multiliteracy learning (Lamb, 2011; Sukovic, 2014; Yokota & Teale, 2014). For students who have learning needs, digital texts provide accessibility options such as different pathways, labels, audio narration and text highlighting (Kingsley, 2007; Lamb, 2011). It is imperative that students are exposed to a variety of different text formats, both print and digital resources, as school libraries ever-strive to equip students for the “new learning ecology of the twenty-first century” (O’Connell et al., 2015, p. 195; Yokota & Teale, 2014).

Further, it is beneficial for teachers to create their own digital texts as they are tailor-made for their students and learning contexts (Reid, 2013). Modelling ethical digital technology use in the classroom also supports student learning (Kingsley, 2007; Serafini et al., 2015; Weigel & Gardner, 2009).

Supporting students to create their own digital texts empowers students to share their ideas and understandings, “speak their own language” as digital natives, and engage in active, independent learning (Malita & Martin, 2010; Ohler, 2016, p. 11, Rubino et al., 2018; Sukovic, 2014). Research indicates that digital storytelling nurtures student learning engagement, motivation, and creativity (Towndrow & Kogut, 2020). Digital text creations are also evidence of learning that can be shared with the school community and families (Botturi et al., 2012; Reid, 2013). Neurodiverse students who experience communication challenges may find digital storytelling, particularly the use of audio-visual material, helps them to express their ideas (Botturi et al., 2012). All students can benefit from reading and responding to digital texts.

Reference List

Australian Curriculum, Assessment and Reporting Authority. (2015a). English content descriptions (Version 8.4). https://www.australiancurriculum.edu.au/f-10-curriculum/english/

Australian Curriculum, Assessment and Reporting Authority. (2015b). Information and Communication Technology (ICT) Capability (Version 8.4). https://www.australiancurriculum.edu.au/f-10-curriculum/general-capabilities/information-and-communication-technology-ict-capability/

Australian Curriculum, Assessment and Reporting Authority. (2022). School profile. My School. https://www.myschool.edu.au/school/46202

Botturi, L., Bramani, C., & Corbino, S. (2012). Finding your voice through digital storytelling. Techtrends: Linking Research & Practice To Improve Learning, 56(3), 10-11.

Cowdy, C. (2016). Pedagogical encounters with Inanimate Alice: Digital mobility, transmedia storytelling, and transnational experiences. Jeunesse, Young People, Texts & Cultures, 8(1), 154-179.

Javorsky, K., & Trainin, G. (2014). Teaching young readers to navigate a digital story when rules keep changing. The Reading Teacher, 67(8), 606-618. https://doi.org/10.1002/trtr.1259

Kingsley, K. V. (2007). Empower diverse learners with educational technology and digital media. Intervention in School & Clinic, 43(1), 52-56.

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

Malita, L., & Martin, C. (2010). Digital storytelling as web passport to success in the 21st century. Procedia-Social and Behavioral Sciences, 2(2), 3060-3064.

Matthews, J. (2014). Voices from the heart: the use of digital storytelling in education. The Journal of the Health Visitors’ Association: Community Practitioner, 87(1), 28-30.

O’Connell, J., Bales, J., & Mitchell, P. (2015). [R]Evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal, 64(3), 194-208.

Ohler, J. (2016). Digital storytelling in the classroom: new media pathways to literacy, learning, and creativity (2nd ed.). Corwin.

Reid, K. (2013). Creating e-books in the classroom. In J. Bales (Ed.), E-books in learning – a beginner’s guide (pp. 37-43). Australian School Library Association.

Rubino, I., Barberis, C., & Malnati, G. (2018). Exploring the values of writing collaboratively through a digital storytelling platform: A mixed-methods analysis of users’ participation, perspectives and practices. Interactive Learning Environments, 26(7), 882-894.

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.

Sukovic, S. (2014). iTell: Transliteracy and digital storytelling. Australian Academic & Research Libraries, 45(3), 205-229.

Tackvic, C. (2012). Digital storytelling: Using technology to spark creativity. The Educational Forum, 76(4), 426-429.

Towndrow, P. A., & Kogut, G. (2020). Digital storytelling for educative purposes: Providing an evidence-base for classroom practice (1st ed.). Springer. https://doi.org/10.1007/978-981-15-8727-6

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers (pp. 181-194). Primary English Teaching Association Australia.

Weigel, M., & Gardner, H. (2009). The best of both literacies. Educational Leadership, 66(6), 38-41.

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6), 577-585.

Image Credit: Image by Pexels from Pixabay

Assessment 2: Critical Reflection on Digital Literature

Posted on September 5, 2022

Digital technology advancements have had an extraordinary impact on storytelling possibilities and transformed traditional concepts of ‘books’ and ‘reading’ (Dobler, 2013). Many young readers now use mobile and electronic devices to access digital stories which vary widely in content, format, and quality (Sargeant, 2015; Valenza & Stephens, 2012). Up until now, I have been quite naïve about the huge variety of digital texts available!

Defining digital literature is challenging due to its ambiguous and contested nature (Rowland, 2021). Theorist Allan claims that it is near-impossible to conclusively define digital literature due the “ever-changing nature of the field” (2017, p. 21). Common definitions suggest that digital literature takes advantage of digital technologies in its design, creation, and delivery of stories (Groth, 2018; Rowland, 2021). Digital literature can feature multimodal elements and interactive features, which can blur distinctions between literature and games (Sargeant, 2015; Serafini et al., 2015).

Regardless, digital literature texts have value because they offer readers opportunities for engagement, enjoyment, and interaction that are unprecedented (McGeehan et al., 2017; Javorsky & Trainin, 2014). Compared with paper-based texts, digital literature can support multimodal comprehension, language acquisition, visual literacy skill development and personalised reading experiences (Yokota & Teale, 2014, p. 584). Digital texts also support students to develop sophisticated literacy skills as they navigate and derive meaning from layered, media-rich texts (Simpson & Walsh, 2015). Like all literature, quality can vary between digital texts, but evaluative criteria can assist in this assessment (McGeehan et al., 2017; Yokota & Teale, 2014).

As educators, we need to embrace digital literature so that we can teach students how to understand and make meaning from diverse texts (Simpson & Walsh, 2015; Allan, 2017). Some of these skills include navigating nonlinear texts, re-reading for comprehension and persisting when digital texts evolve in unexpected ways (Javorsky & Trainin, 2014). Reading digital texts is a complex undertaking because “entire information structures” need to be considered, not just typed text on a page (Hovious, 2020, p. 218). However, this is not to ignore the value of paper-based texts! Reading programs should, in fact, support encounters with a wide variety of diverse book types and formats (Dobler, 2013). To this end, Australian curriculum revisions for the subject of English are placing more emphasis on incorporating digital texts in classrooms (Simpson & Walsh, 2015).

Reading digital texts compared with print-based texts

Through my three recent blog reviews, I have had the opportunity to reflect on the value of digital literature and draw comparisons to print-based texts. Personally, I found that reading Pop Out! The Tale of Peter Rabbit (Loud Crow Interactive Inc., 2017) was not too dissimilar from reading a hardback copy of Beatrix Potter’s original text, perhaps with pull tags for pop out features. I didn’t feel like the technology enhanced my understanding of the story or added much more than the paper-based text could offer.

Comparatively, accessing the other two texts was a completely different reading experience! If I imagine reading Woonyoomboo the Night Heron (Milgin & Watson, 2018) as a paper-based text, I don’t think I would understand the story as deeply. For example, it would be difficult for me to hold a map of the Songline in my head and I couldn’t navigate between aerial photographs and listen to Songlines being sung by community elders.

Reading Inanimate Alice (Pullinger et al., 2005) was also exciting because it felt like a game, even if the interface was a little out-dated. I enjoyed piecing together the clues and the feast of visual information. At times, I did feel some sensory overload – particularly trying to read text with frenetic background sounds and music. If I imagine it as a paper-based text, Inanimate Alice would be a very short story and a lot of inferential details would be lost.

Incorporating digital texts into the English classroom

Of all three texts, Woonyoomboo the Night Heron was the most enjoyable because I learnt so much through experiencing the text. I found the multimodal features to be both immersive and instructive, bolstering my understanding of the narrative and stimulating my auditory and visual senses. I felt like I could engage with the story more fully than if it was a paper-based text, especially through watching parts of the narrative as animated videos. I also felt like I was learning the story through social interaction with Nyikina community members, whose speech and gestures have been recorded, and who have generously shared this important Dreaming story with everyone.

Woonyoomboo the Night Heron would be a wonderful text for use in the Year 7 or 8 English classroom. It could be used as a piece of literature to unpack and analyse, through exploration of character, themes, narrative structure, plot, and setting. It could also be used to provide insight in Aboriginal Torres Strait Islander voices, perspectives, and histories. Alternatively, it could be used to support the development of literacy skills associated with multimodal texts or used as a mentor text to inspire students as they create their own digital texts.

Looking forward

I am now eager to learn more about newly published digital texts, particularly those at the forefront of technological innovation. From non-linear texts to those with virtual reality components, and others that encourage participation and reader-to-reader interaction within textual worlds and beyond, there are just so many possibilities (Cowdy, 2016; Hovious, 2020; Serafini et al., 2015). It is certainly an exciting time to be an educator and a reader.

Reference List:

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

Cowdy, C. (2016). Pedagogical encounters with Inanimate Alice: Digital mobility, transmedia storytelling, and transnational experiences. Jeunesse, Young People, Texts & Cultures, 8(1), 154-179.

Dobler, E. (2013). Looking beyond the screen: Evaluating the quality of digital books. Reading Today, 30(5), 20-21.

Groth, S. (2018, May 20). Still defining digital literature. The Writing Platform. http://thewritingplatform.com/2018/05/still-defining-digital-literature/

Hovious, A., Shinas, V. H., & Harper, I. (2020). The compelling nature of transmedia storytelling: Empowering twenty first century readers and writers through multimodality. Technology, Knowledge and Learning, 26(1), 215-229. https://doi.org/10.1007/s10758-020-09437-7

Javorsky, K., & Trainin, G. (2014). Teaching young readers to navigate a digital story when rules keep changing. The Reading Teacher, 67(8), 606-618. https://doi.org/10.1002/trtr.1259

Loud Crow Interactive Inc. (2017). Pop Out! The tale of Peter Rabbit (Version 1.8) [Mobile app]. App Store. https://apps.apple.com/au/app/popout-the-tale-of-peter-rabbit-potter/id397864713

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

Milgin, A. N., & Watson, D. (2018). Woonyoomboo: The Night Heron. Sharing Stories Foundation. https://books.sharingstoriesfoundation.org/nyikina/

Pullinger, K., Joseph, C., & Harper, I. (2005). Inanimate Alice: Episode 1 [Computer software]. The Bradfield Company Ltd.

Rowland, R. (2021, July 8). What is digital literature? Understanding the genre. Book Riot. https://bookriot.com/digital-literature/

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.

Simpson. A., & Walsh, M. (2015), Children’s literature in the digital world: How does multimodality support affective, aesthetic and critical response to narrative? English Teaching: Practice & Critique, 14(1), 28-43.

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

Yokota, J., & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6), 577-585.

Header Image Source: Visual art by 0fjd125gk87 from Pixabay.

Digital Literature Review 3: Inanimate Alice Episode 1

Posted on September 5, 2022

Inanimate Alice is a landmark, born digital narrative series, of which seven episodes have been released (Boyd, 2013). A born digital narrative is a multi-modal text that has been designed in, and for, digital environments (Allan, 2017; Walsh, 2013). Despite previously being freely accessible via the internet, a bundle of the first five Inanimate Alice episodes can be downloaded for $9.99 USD from the text’s website (Bradfield Narrative Designs Inc., 2022).

Inanimate Alice can also be categorised as “game-based storytelling” and is an early, significant example of a transmedia text (Cowdy, 2016; Walsh, 2013). Transmedia stories are often nonlinear and use multiple media platforms while combining features such as audio-visual content, text, graphics, and games (Fleming, 2013; Hamilton, 2019). These text types actively encourage reader participation so that readers can be co-constructors of digital narratives (Hovious et al., 2020).

Even though Inanimate Alice, particularly the first episode, is not a recent text, it is worthy of review due to its wide-reaching, global impact. Episode one has been used by teachers in over 100 countries, it has stirred much academic interest, and the series has been recommended as part of the Australian national curriculum for English (Hovious et al., 2020). Moreover, a research group has been established to recommend Inanimate Alice as a high-quality exemplar text of digital literature (Hovious et al., 2020).

The first episode, released in 2005, is set in remote Northern China where the protagonist Alice is eight years old and being home-schooled by her mother Ming (Pullinger et al., 2005). Subsequent episodes follow Alice as she travels with her parents to different countries around the world (Allan, 2017). The structure of episode one’s narrative is simple; readers learn that Alice’s dad, who works in the oil industry, has been missing for two days. The episode is told from Alice’s first-person perspective whereby Alice and her mother set out in their car to look for him.

Evaluative criteria

	Criterion Description	Evaluation notes
1	The text is appropriately presented in digital format	As a born-digital text, episode one integrates multimodal features, such as: printed text, visuals, moving images, sound, and interactive games. These are integral to the story because they are used by the reader to make inferences about narrative gaps regarding character and plotlines (Walsh, 2013). The predominant mood of the text is uneasiness and escalating anxiety about Alice’s dad’s safety. This feeling is amplified by soundscapes of white noise and electronic sounds, blurry footage of cars, split screens, and Alice’s comment: “I am frightened too” (Pullinger et al., 2005).
2	The text takes advantage of features the digital world allows, beyond what is possible in print	Technology is authentically embedded throughout the story, and it enhances the core narrative (Fleming, 2013). An example of this is Alice’s handheld gaming device, which she calls her ‘ba-xi’ (Pullinger et al., 2005). Readers interact with the device to take photos of wildflowers that Alice wants to email to her dad, view illustrations of her virtual friend Brad and type notes about things she wants to be doing, rather than searching for her father. These game and messaging elements are appealing to digitally savvy readers (Walsh, 2013).
3	Supplementary features align with the text	There are connected resources within the first episode of Inanimate Alice such as embedded documents, text and emails on Alice’s ba-xi, photographs of everyday life in China, maps, and floor plans of ‘base camp’ (Lamb, 2011). On the last screen, there is a hyperlink to the Inanimate Alice website and episodes for purchase (Bradfield Narrative Designs Inc., 2022).
4	Interactive features maintain the integrity of the main story	Readers must interact with the text by clicking on arrows or other visual elements, watching footage, and playing Alice’s ba-xi to progress with the narrative (Hamilton, 2019). This is outlined to readers on the opening page. Readers are also informed that they can view the navigational panel on the right-hand side to return to earlier scenes, but they cannot skip forward. The interactive graphics serve to further immerse readers in the story, rather than distract them (Javorsky & Trainin, 2014).
5	Digital features support readers’ acquisition of words or comprehension	The white printed text is striking against the black background (Yokota & Teale, 2014). Unfortunately, there are no options for the text to be read aloud. There are a few words spoken by Alice’s ba-xi, in a Chinese dialect, but these are without translation or subtitles. This adds to the enigmatic atmosphere of the narrative but does not support language learning.
6	The story within the digital text has literary merit	The Inanimate Alice series’ popularity is unrivalled, and it has been translated into at least seven languages other than English (Allan, 2017). It was the first digital story to feature as part of Australian national English curriculum (Boyd, 2013).

Reference List

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

Boyd, B. (2013). Learning objectives: Meeting the needs of young people and the curriculum. Inanimate Alice Australia. https://www.inanimatealice.com/australia/resources/assets/
photostory1/education/bill_boyd.pdf

Bradfield Narrative Designs Inc. (2022). Inanimate Alice. https://inanimatealice.com/

Cowdy, C. (2016). Pedagogical encounters with Inanimate Alice: Digital mobility, transmedia storytelling, and transnational experiences. Jeunesse, Young People, Texts & Cultures, 8(1), 154-179.

Fleming, L. (2013). Expanding learning opportunities with transmedia practices: Inanimate Alice as an exemplar. Journal of media literacy education, 5(2), 370-377.

Hamilton, L. (2019). Inanimate Alice. Literacy Learning: The Middle Years, 27(1), 71-74.

Javorsky, K., & Trainin, G. (2014). Teaching young readers to navigate a digital story when rules keep changing. The Reading Teacher, 67(8), 606-618. https://doi.org/10.1002/trtr.1259

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

Pullinger, K., Joseph, C., & Harper, I. (2005). Inanimate Alice: Episode 1 [Computer software]. The Bradfield Company Ltd.

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers (pp. 181-194). Primary English Teaching Association Australia.

Header Image Source: Figure 1. Screenshot from the digital text (Pullinger et al., 2005).

Digital Literature Review 2: Woonyoomboo the Night Heron

Posted on September 5, 2022

Woonyoomboo the Night Heron is an enhanced eBook published by Sharing Stories Foundation. It features a Dreaming story shared by Nyikina Mangala elders Annie Nayina Milgin and Darraga Watson, that has been passed down from Annie’s father Darby Nangkiriny (Sharing Stories Foundation, 2022b). The eBook is freely available for download from Apple Books, and there are two versions: one in English and the other in Nyikina language (Milgin & Watson, 2018). The enhanced eBook was created in partnership with the students of Nyikina Mangala Community School and other community members.

Dreaming stories, like Woonyoomboo’s, explain the spiritual world and the creation of the physical world, and are the foundation of Aboriginal lore, culture, and beliefs (Aboriginal Contemporary, 2022; Deadly Story, 2022a). Woonyoomboo is the main creation ancestor of the Nyikina people, the traditional custodians of the Kimberley region in Western Australia (Sharing Stories Foundation, 2022a). Storytelling is an ancient practice which enables knowledge transfer and relationship-building in Indigenous cultures (Iseke, 2013).

Woonyoomboo the Night Heron can be classified as an enhanced or ‘amplified’ eBook because it contains supplementary media such as maps, navigational features, illustrations, audio-visual content, and links to resources outside of the text such as community member stories (Allan, 2017; James & de Kock, 2013; Serafini et al., 2015). The text benefits from the emerging influence of drone technology, incorporating aerial photography and video footage of vast landscapes which reveal the physical geography of creation stories.

The eBook’s narrative tracks the Songline that Woonyoomboo left for the Nyikina people, which holds instructions for how to live and how to care for Country (Milgin & Watson, 2018; Sharing Stories Foundation, 2022b). Songlines are physical paths, often tied with ancestral stories, that link sacred sites and are a “singing celebration of Country” (Deadly Story, 2022b). The Songline in Woonyoomboo the Night Heron is used to guide the narrative and is depicted as an illustrated, interactive map with sacred landmarks along the way.

Evaluative criteria

	Criterion Description	Evaluation notes
1	The text is appropriately presented in digital format	The enhanced audiobook features multimodal elements, such as audio narration and videos. This is appropriate for this Dreaming story as oral traditions are a key feature of Aboriginal culture. The spoken word has been the primary means of passing on stories between generations for millennia (Queensland Curriculum & Assessment Authority, 2018). The eBook has community approval and is culturally safe (Sharing Stories Foundation, 2022a). For example, it features a warning at the start about images and references to people have died (Milgin & Watson, 2018).
2	The text takes advantage of features the digital world allows, beyond what is possible in print	Multimodal, digital features serve to deepen reader understanding of Woonyoomboo’s story (Dobler, 2013). In addition to the illustrations on each page, there are embedded animated videos which incorporate original artwork by Nyikina Mangala Community School students and rich soundscapes, which bring moments of the story to life. Some students also act in the videos! The Songline map can be viewed while reading the text, by touching the map icon at the bottom-left of each page. This shows not only the illustrated map, but incredible drone photography highlighting aerial views of the physical landscape. On some pages there is a clapsticks symbol. Readers can touch the icon to hear someone performing a song with clapsticks. It is powerful to read so experientially; to see the land geography, interact with the illustrated map, and hear recorded songs which are tethered to this creation narrative.
3	Supplementary features align with the text	At the end of the story there is section titled ‘Our Community Voices’ which features links to audio clips, video files and written text about locals.
4	Interactive features maintain the integrity of the main story	There is “aesthetic synergy” between the digital design, the text itself and the culturally significant Dreaming story captured within (Walsh, 2013, p. 187). Digital elements, such as the animated videos, illustrate parts of Woonyoomboo’s story, such as when he uses a majala bark to collect fish in the water that later becomes the Fitzroy River (Milgin & Watson, 2018). These elements are instrumental to the reading experience and are inherently purposeful as they support narrative comprehension (Lamb, 2011).
5	Digital features support readers’ acquisition of words or comprehension	There is an explanation of icons and symbols that appear in the story on page 9. For example, there are two audio narration buttons: ‘ENG’ is for English and ‘NYK’ is for Nyikina language. These options support bilingual language learning. Readers can touch any word that is in dark red to hear the pronunciation aloud, which is helpful for language learning and bilingual word recognition (Lamb, 2011; Yokota & Teale, 2014). English subtitles are included for videos which feature Nyikina language, such as the welcome video by Annie at the start of the eBook. Unfortunately, there is no text highlighting (Segal-Drori et al., 2010). It would also be helpful to have a glossary of terms at the end of the text, with definitions or even opportunities to match illustrations with vocabulary (Yokota & Teale, 2014).
6	The story within the digital text has literary merit	This is an ancient Dreaming story, that has been passed down orally through generations of Nyikina families. It is an extraordinary gift that this story has been shared with the public, through the generosity of Nyikina community elders.

Reference List:

Aboriginal Contemporary. (2022). What is the dreamtime and dreaming? https://www.aboriginalcontemporary.com.au/pages/what-is-the-dreamtime-and-dreaming

Deadly Story. (2022a). Dreaming. https://www.deadlystory.com/page/culture/Life_Lore/Dreaming

Deadly Story. (2022b). Songlines. https://www.deadlystory.com/page/culture/Life_Lore/Songlines

Iseke, J. (2013). Indigenous storytelling as research. International Review of Qualitative Research, 6(4), 559-577. https://doi.org/10.1525/irqr.2013.6.4.559

James, R., & de Kock, L. (2013). The digital David and the Gutenberg Goliath: The rise of the enhanced e-book. English Academy Review: Southern African Journal of English Studies, 30(1), 107-123.

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

Milgin, A. N., & Watson, D. (2018). Woonyoomboo: The Night Heron. Sharing Stories Foundation. https://books.sharingstoriesfoundation.org/nyikina/

Queensland Curriculum & Assessment Authority. (2018, July 25). Storytelling in Aboriginal and Torres Strait Islander cultures. https://www.qcaa.qld.edu.au/about/k-12-policies/aboriginal-torres-strait-islander-perspectives/resources/storytelling

Segal-Drori, O., Korat, O., Shamir, A., & Klein, P. (2010). Reading electronic and printed books with and without adult instruction: effects on emergent reading. Read Writ 23(8), 913-930.

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.

Sharing Stories Foundation. (2022a). Nyikina community. https://sharingstoriesfoundation.org/
community/nyikina/

Sharing Stories Foundation. (2022b). Woonyoomboo: the night heron. https://sharingstories
foundation.org/resource/woonyoomboo-the-night-heron/

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers (pp. 181-194). Primary English Teaching Association Australia.

Yokota, J., & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6), 577-585.

Header Image Source: Figure 1. Screenshot from the eBook (Milgin & Watson, 2018).

Assessment 2 Part B: Reflective Practice

Posted on June 6, 2022

Role and nature of school library collections

The subject ETL503 has expanded my understanding about how school library collections are maintained and the myriad of complex issues that emerge regarding selection, censorship, and ownership. School libraries serve an important role in equipping their user communities with access to high quality resources through physical and digital collections. The development of vibrant, relevant collections is an ongoing process (Mitchell, 2016).

Importantly, teacher librarians must strive to develop collections that are balanced by presenting different perspectives on issues (Johnson, 2009). They must look past their own bias, which must be challenging as teacher librarians are often the ones making decisions about which resources to purchase or provide access to (Johnson, 2018). I personally take comfort in knowing that collection building is a collaborative process that does not rest on the shoulders of one individual (International Federation of Library Associations and Institutions [IFLA], 2015).

I had never previously considered the process of selecting or managing relevant collection resources in much depth. This is evident in an early blog post (McDonald, 2022, March 8), where I reflect on experiences as a staff member accessing the school library. Instead of commenting on the library collection, my reflection focuses on library staff support I have received, and the cultivation of welcoming physical environments.

I have come to realise that, as Dempsey et al. eloquently states, “libraries are not ends in themselves but serve the needs of the institutions of which they are a part” (2014, p. 398). School library collections must align with curriculum priorities, but the driving force for selection is always to meet the school community’s educational and recreational needs (Johnson, 2018, p. 137; IFLA, 2015). Teacher librarians must continually evaluate library collections to ensure that this is happening, using a combination of both quantitative and qualitative methods to provide a comprehensive picture (McDonald, 2022, May 11; Johnson, 2018).

Collection development policy as strategic documentation

A school library’s collection development policy (CDP) is an essential document, defining the user community and outlining how the collection will meet their needs (Braxton, 2022; Shaw, 2011). The policy also establishes the library’s goals, purpose, scope, and guidelines for the systematic resource selection and deselection (Johnson, 2009; Mitchell, 2016). Like the ongoing nature of collection building, this policy is a document that evolves as the collection does. Shaw (2011) cites Professor Elizabeth Futas, who describes the CDP as a “living, breathing entity… always tinkered with, and never quite finished” (p. 167). Resource selection and acquisition must take place in accordance with this policy, ensuring that resources meet selection criteria, protect user rights and freedoms, and are high quality, curriculum-aligned, and age-appropriate (Mitchell, 2016; Kerby, 2019).

I have been relieved to learn that, like collection building itself, writing and revising a CDP is a collaborative effort (McDonald, 2022, March 3; Australian School Library Association & Australian Library and Information Association, 2001). It involves the input of many different members of the school learning community, which fosters shared ownership of the policy. It also builds a strong foundation and rationale for the collection, for the present and moving forward into the future.

The CDP shows the community that collection building is strategic, not random, and can be justified (Mitchell, 2016). It also prevents impulsive decisions and wasted resources. Once the policy is reviewed and ratified by leadership it can be used to defend the selection of diverse resources and funding decision-making (Braxton, 2022; Merga, 2022). Challenges to collection resources are commonplace and a comprehensive CDP, which provides clear guidelines for dealing with challenges, is the best preparation for responding (McDonald, 2022, May 20).

Before ETL503, I had never heard of a collection development policy (CDP) and was surprised to find that my school library did not have one (McDonald, 2022, May 29). I found that this was not uncommon, however, as numerous peers mentioned on discussion forum posts that their schools also did not have a CDP (Walls, 2022, May 5). I could not find guidelines for defining or drafting collection development policies via my local education authority, the Victorian Department of Education (McDonald, 2022, March 3). I now realise that a strategic CDP is an essential tool and “insurance policy”, and school libraries should be better supported to develop and implement them (Shaw, 2011, p. 165).

Future-proofing collections through policy

There is no doubt that the contemporary information landscape has and continues to have a transformative impact on resources, collections, and the collection development process itself (McDonald, 2022, March 10). School libraries now traverse complicated digital terrain, where information keeps proliferating (McDonald, 2022, May 28). Digital resources, which now feature prominently in contemporary library collections, challenge traditional notions of ownership and access (Newsum, 2016). Collection building is now more complex not just because of the dynamic nature of online and digital content which is “being continually edited, revised and supplemented” but also because it can be user generated (Corrall, 2011, p. 17).

While this poses all sorts of challenges, it does not signal the demise of library collections. Corrall (2011) cites library scholar Michael Gorman who argues that, instead of a disastrous “revolution”, library collections are in fact growing, “with each new development representing an evolutionary step” (p. 20). Teacher librarians need to keep up to date with current information trends and rapidly changing digital content, even though this is a “thrilling, slightly terrifying, essential part of our jobs” (McDonald, 2022, March 10). This is vital to ensure resource collections match user community needs, and policy documentation must be updated accordingly.

While resource formats are changing, with expanded scope through online channels and interlibrary lending, the teacher librarian’s role in ethically selecting and providing access to these resources to meet user needs remains steadfast (Corrall, 2011). Policy documentation needs to empower teacher librarians to select resources that will support student needs for current and future use, even though curriculum will change, and both technology and digital resources will continue to develop. CDPs should be flexible so that they can be adapted in line with these changes.

I am excited to consider school library futures, as collections expand in size, inclusivity and relevance for users (McDonald, 2022, May 28). We have seen this most poignantly through the recent COVID-19 lockdowns when school libraries had to prioritise collection accessibility through online channels as we all worked from our homes. Drawing on Wade’s (2005) analogy, I am hopeful that school libraries will, like phoenixes, rise to the challenge of keeping pace with user needs and information trends. And, as school collections keep adapting, the library’s most important document, the CDP, must adapt too.

References

Australian School Library Association & Australian Library and Information Association. (2001). Learning for the future: Developing information services in schools (2nd ed.). Curriculum Corporation.

Braxton, B. (2022). Sample collection policy. 500 hats: the teacher librarian in the 21st century. https://500hats.edublogs.org/policies/sample-collection-policy/

Corrall, S. (2011). The concept of collection development in the digital world. In M. Fieldhouse & A. Marshall (Eds.), Collection development in the digital age (pp. 3-25). Facet Publishing.

Dempsey, L., Malpas, C., & Lavoie, B. (2014). Collection directions: The evolution of library collections and collecting. Portal: Libraries and the Academy, 14(3), 393-423. https://doi.org/10.1353/pla.2014.0013

International Federation of Library Associations and Institutions. (2015). IFLA school library guidelines: 2nd revised edition. https://repository.ifla.org/handle/123456789/58

Johnson, P. (2009). Fundamentals of collection development and management (2nd ed.). ALA Editions.

Johnson, P. (2018). Fundamentals of collection development and management (4th ed.). ALA Editions.

Kerby, M. (2019). An introduction to collection development for school librarians (2nd ed.). ALA Editions.

Merga, M. K. (2022). School libraries supporting literacy and wellbeing. Facet Publishing.

Mitchell, P. (2016). Five things about digital collections. FYI: The Journal for the School Information Professional, 20(3), 4-19. https://search.informit.org/doi/10.3316/aeipt.213385

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. https://doi.org/10.14265.22.1.008

Shaw, W. (2011). Collection development policies for the digital age. In M. Fieldhouse & A. Marshall (Eds.), Collection development in the digital age (pp. 165-180). Facet Publishing.

Wade, C. (2005). The school library: phoenix or dodo bird? Educational Horizons, 8(5), 12-14.

Walls, C. (2022, May 5). Policy, what policy? [Comment on “Module 6.1 Forum”]. Interact 2 Discussion Board. https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_59966_1&nav=discussion_board_entry&conf_id=_122289_1&forum_id=_271032_1&message_id=_4058332_1

Image Source: Photo by NegiPho on Unsplash

Assignment 1: What I thought I knew

Posted on March 8, 2022

Task Description: Reflecting on your experiences as a teacher before you became interested in working in a school library, write a 500-word piece about your understandings of the role of the TL in schools.

I first became aware of Teacher Librarians (TLs) when I undertook my two teaching placements as a Master of Teaching student in 2016 (I ended up teaching at the first placement school the following year). Both of the schools I taught at had thriving school libraries staffed with a variety of librarians and technicians but, most importantly, were headed by a passionate and qualified TL. Unfortunately, the first TL has just recently passed away from cancer. I wish I had had the opportunity to learn more from him while he was still alive. He remains the single most extraordinary person – enthusiastic, supportive, resourceful – I have met during my five years in education.

During these two placements I loved spending time in the libraries, and often took my classes for reading or research sessions. I once put on a podcast exhibition event with a Media class, supported by the library team, and we invited the whole school to attend – putting on a delicious spread and showcasing exciting student learning. On my second placement I saw the library come alive with poetry readings, music events and fierce chess competitions. Teachers often visited for support and there was a constant flow of students in and out.

I remember the TL on my second placement commenting, “I’m one of the few surviving TLs. They are as rare as hen’s teeth these days. Their expertise just isn’t appreciated any more.” Upon hearing that, I essentially dismissed becoming a TL myself, mistakenly assuming that the qualification no longer existed or was fast becoming extinct.

I look back on these experiences fondly because they showed me what an effective TL can be and the incredible impact they can have on the whole school community, through the library environment they cultivate. They open the door to the physical library space for students to read, learn and inquire, but they also open doors in the digital landscape; modelling information literacy skills, supporting student learning and connecting the community with quality resources. As Hill (2017) summarises, they oversee “places where the letter ‘C’ is key: create, connect, collaborate, communicate, care and change with your community.”

Interactions with library staff in schools who are not qualified TLs has only reinforced to me the vital role that TLs play in the school community. As the Australian Library and Information Association (2016) outlines, the “key roles of the teacher librarian are learning and teaching, management, leadership as well as collaboration and community engagement.” As the digital landscape evolves with complex information and resources, necessary for both staff and students to navigate confidently, TLs in schools are, arguably, more important than ever.

References:

Australian Library and Information Association. (2016). Statement on Teacher Librarians in Australia. https://read.alia.org.au/alia-asla-statement-teacher-librarians-australia

Hill, A. (2017). Australian Teacher Librarian of the Year 2017: Reaffirming and celebrating the pivotal role of teacher librarians in our school libraries. Access, 31(3), 28-29.

Maridashvili, A. (2021). Young woman in blue jacket choosing a book from a bookshelves [Photograph]. Unsplash. https://unsplash.com/photos/gqk2hoqGAL0.