library collection – From dust jackets to digital horizons

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

Digital Storytelling and Digital Tools

Posted on September 9, 2022

This week we have been learning about digital storytelling, and the ways in which we can harness new media technologies to do what humans have always done – tell stories. As defined by Matthews, digital storytelling “presents personal narratives, images and music to create a unique and sometimes emotional snapshot into another person’s experience” (2014, p. 28).

I found this video explainer, created by the University of Guelph in Canada, helpful in clarifying my understanding of digital storytelling:

I also noticed that this YouTube video is itself a form of digital storytelling as the University of Guelph librarians have used the platform Powtoon to create a video that incorporates audio narration, background music, moving images, text, and animation.

When thinking about digital storytelling and how it is used in the classroom, I have a few burgeoning thoughts! I think it can be such a powerful way to teach content using multimodal methods and is likely more appealing to a wider student group than reading printed written texts. Digital stories can also be published and shared widely in learning communities.

I imagine that students with different learning preferences and needs may find it particularly helpful – such as providing definitions, translations, audio narration and so on (Walsh, 2013). However, it is important that multimodal elements enhance understanding, not distract from the text and its content (Dobler, 2013).

Some questions that I have:

How do we best support students, when creating their own digital stories, to source audio-visual content ethically and legally?
How can teachers be best supported to develop their own digital storytelling resources for classroom use? (e.g., through staff professional development activities)
How can we encourage other staff to incorporate digital stories in their classrooms, when their might be some (understandable) apprehension!

Digital storytelling tools

I think it is important for students to be able to create and share their own stories using digital tools. As Tackvic comments, when she reflects on her students using digital storytelling tools, she is delighted that they are “not only becoming more confident writers, they are also learning how to use 21st century skills” (2012, p. 429).

Some fantastic digital tools that I have found so far:

It’s important to incorporate digital literature and digital storytelling into classrooms, not to take the place of print texts, but as an important part of comprehensive programs. Students need to experience a variety of texts, genres and formats to, as Dobler states, “prepare them for the wide variety of reading experiences they will encounter in their future” (2013, p. 21).

References

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

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.

Tackvic, C. (2012) Digital Storytelling: Using Technology to Spark Creativity. The Educational Forum, 76(4), 426-429.

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).

Image Credit: Visual Art by Çiğdem Onur from Pixabay

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

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School Library Futures

Posted on May 28, 2022

I’m excited to think about the future of school libraries, as they become more inclusive and relevant to user needs. This could include more accessible resources for students with specific learning needs, multilingual materials, and blended learning resources or information that students can access from home.

I sincerely hope that increasing digital integration and e-resource offerings will further cement the importance of school libraries as learning hubs and integral components for the school teaching and learning landscape. Like Wade’s (2005) phoenix analogy indicates, school libraries need to continuously evolve to keep pace with user needs and information trends. School libraries that become, like dodos, extinct, not utilised or not fit for purpose are such a wasted opportunity for positive impact. As the International Federation of Library Association and Institutions’ (2018) updated Trends Report suggests that: “Libraries can adapt and respond through sharing skills, tools and ideas that empower their users” (p. 5).

Despite expanding digital collections, I think that physical resources will continue to have a place in school libraries as they serve educational purposes. In the future, there will continue to be changes to what physical library environments look like and feature too. Some examples are more flexible furniture, collaborative working areas, shelving on wheels and different zones (Curtis, 2018).

There is a lot of fearmongering that digital shifts will threaten the place of libraries and, by extension, Teacher Librarians (TLs), but this is not the case. School libraries of the future may look different, but their purpose will not waver: to equip users with the skills they need to navigate information environments, read widely and access resources from a variety of different perspectives. Teacher librarians, like wayfarers guiding users through diverse terrain (digital and physical), will always be needed, if not more than ever as information needs keep proliferating.

References

Curtis, N. (2018). School library staff share: Our wish list for the future. Access, 32(3), 32-38.

International Federation of Library Associations and Institutions. (2018). IFLA Trend Report Update. https://trends.ifla.org/files/trends/assets/documents/ifla_trend_report_2018.pdf

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

Image Credit: Photo by Hadija Saidi on Unsplash

Censorship

Posted on May 20, 2022

The issue of censorship is complex but juicy – and I find it fascinating! Last year I attended a session held by former Victorian CBCA Branch President Karys McEwan who spoke about this. She outlined her approach to censorship: that all the books in the collection had been carefully selected for the student community, but that doesn’t mean that all the books will be suited for each individual student. If the book isn’t quite right for that student, then just pick another one!

In theory, I think that high school students should be able to self-censor and select books that are appropriate for them. The reality, however, is probably that they still need some guidance! At our school, we have some content labels and a separate section of ‘Senior Fiction’ which is for books with mature themes (sex, drugs and rock’n’roll). This area isn’t restricted, because students can access these books, but there will be a system alert if younger students want to borrow one of these titles. Some other libraries require parent permission for students to borrow from these restricted sections, but this could potentially impact students’ rights (Jacobson, 2016).

My key takeaways from the module and readings are that: the best response to challenges is to have a clear Collection Development Policy (CDP) that outlines a process for challenging resources that community members may want censored or removed.

I found it interesting that in the 2016 Controversial Books Survey, conducted by the School Library Journal, more than 90 percent of librarians interviewed said they didn’t select a book to add to the collection because of controversial content (School Library Journal Staff, 2016). This controversial content included: “sexual content, profanity, or other non-age-appropriate material” (Jacobson, 2016, p. 21). Dawkins explains that this can become self-selection, “when a school librarian chooses not to add material to a collection for fear of a challenge” (2018, p. 8). To me, this indicates that resources that make it to the collection are selected carefully with consideration about themes, content, and appropriateness for users. This can all be justified, through selection criteria and the CDP, if challenges do indeed arise.

I also found it interesting that most challenges were came from parents, after that it was teachers or administrators and then, finally, students themselves (Jacobson, 2016). This indicates to me that parents are perhaps most likely to be making challenges about collection content.

References

Dawkins, A. M. (2018). The decision by school librarians to self-censor: The impact of perceived administrative discomfort. Teacher Librarian, 45(3), 8-12.

Jacobson, L. (2016). Unnatural Selection. School Library Journal, 62(10), 20–24.

School Library Journal Staff. (2016, September 26). SLJ Controversial Books Survey Responses: Weighing Subject Matter. https://www.slj.com/story/slj-controversial-books-survey-responses-weighing-subject-matter

Image Credit: Photograph by Steve Buissinne from Pixabay

Collection Evaluation

Posted on May 11, 2022

Johnson (2018) emphasises that collection evaluation is an ongoing process, outlining several quantitative and qualitative methods of collection analysis that can be used to evaluate school library collections. This list is helpful as it outlines use-based and user-based approaches, as well as collection-based approaches.

A combination of quantitative and qualitative dad collection methods is best, particularly when reporting to key stakeholders (such as leadership, school council, students, staff, or parents). These stakeholders might be seeking different kinds of information, to serve a variety of purposes (e.g. circulation data to justify spending, information about collection utilisation, feedback about collection appropriateness).

For example, school leadership might preference quantitative data such as circulation statistics, e-resources use statistics, in-house use statistics, cost per use as well as collection size and growth. This data could be used to justify library budgets or plans for collection expansion, as directed by user community needs. Numerical data, however, only shows part of the picture. As noted by Brown “it’s not enough to include numbers alone. The value lies in your interpretation of what the numbers represent” (2016, p. 22).

Moreover, qualitative methods, such as user opinion surveys (e.g. Google Forms or Survey Monkey), collection mapping or observation (what books are used/read/referred to in the Library but not necessarily loaned) could be used by school library staff to garner richer data about collection use. These methods, however, are more time-consuming and maybe not performed as regularly as some quantitative data collection, particularly methods that can be performed quickly using digital library software.

Other methods, such as list-checking (e.g. comparing to CBCA lists or selection aid recommendations) and collection mapping could be used to inform school staff about what is in the school library collection (and links to curriculum). Comparisons to other school libraries could also prove insightful.

References

Brown, D. (2016). Shine a light on your library. Incite, 37(3), 22-23.

Johnson, P. (2018). Fundamentals of collection development and management. American Library Association.

Image Credit: Photo by Fallon Michael on Unsplash

Library Suppliers

Posted on March 20, 2022

Question Prompt: What qualities would you look for in preferred school library suppliers? What challenges may schools who are isolated from major cities and schools with unique needs (specialist curriculum, language/ethnic/religious groups and learning styles) experience when it comes to acquiring resources? Identify and discuss some of these challenges and share ideas for overcoming them.

I would preference suppliers who are based in Australia who have variety and a significant number of the needed resources, ideally at a comparable price point to competitors. Buying most of the resources from a small number of suppliers will make shipping and processing easier. However, as the module notes suggest, I’d keep an eye out for suppliers who endorse exclusivity and prevent you from buying from different suppliers.

Schools who are isolated geographically may have more trouble ordering and receiving resources in a timely manner. Transport costs may also be significantly higher, particularly if you are in remote parts of Australia. To overcome this, ordering in bulk and ahead of time (as much as possible) could help.

Schools who have specific needs (e.g. requiring bilingual resources or resources for students with specific learning needs etc) may not be able to order through bigger suppliers and may have to look at niche or international suppliers. These resources may be more expensive and take longer to arrive. However, it will be worth it if the school then acquires the quality, appropriate resources the community needs!

Image Credit: Photo by Jessica Ruscello on Unsplash

Defining Collection Development

Posted on March 3, 2022

This week in ETL503 Resourcing the Curriculum, we have been learning about managing and developing the school library collection.

I couldn’t find a definition of collection management or development used by my local educational authority, the Victorian Department of Education. So, instead, I found the South Australian Department of Education’s 2020 policy document: ‘Selecting and using resources for educational purposes guideline’. On page 5, an overview of collection management is discussed:

“Teacher-librarians, resource centre managers, technology coordinators, team leaders and IT managers have key roles in selecting, managing, and distributing a range of resources. They are well-placed to provide advice about selecting resources including conventional books, newspapers, magazines and journals, CDs, talking books and DVDs, conventional charts, digital images, e-collections, apps, and a variety of digital resources. Existing resources require regular review for quality control and to monitor continuing relevance” (Department of Education South Australia, 2020, p.5).

In the School Library Association of Victoria (SLAV)’s 2018 ‘Statement on School Libraries’, they state that school libraries support learning communities by “managing and curating equitable, inclusive and diverse physical and digital collections that reflect both a local and global perspective.”

Key elements across these two definitions are the importance of school collections that comprise digital and print resources that are suitable to the needs of school learning community. The first definition, offered by the South Australian Department of Education, distils the teacher librarian’s core role as “selecting, managing and distributing” resources. In addition, the process that our lecturer Ms Krystal Gagen-Spriggs calls ‘weeding’ is also mentioned, with emphasis on the continual assessment of resource quality and relevance. The SLAV statement places explicit importance on resources that are “inclusive and diverse”, which I think is a vital component of collection management or development as well.

In this week’s module, I found it comforting to read that it’s not just the teacher librarian’s responsibility! Developing and managing resource collections is a collaborative effort which involves the input of many in the broader learning community.

References:

Department of Education South Australia. (2020). Selecting and using resources for educational purposes guideline. https://www.education.sa.gov.au/doc/selecting-and-using-resources-educational-purposes-guideline

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