ETL512 - Professional Experience & Portfolio

Evaluation & reference list

I believe many parts of this course have developed my skills and attitudes as a professional teacher librarian – often it was the courses I struggled with the most that were most necessary (such as Research in Practice, Teacher Librarian as Leader, and Describing and Analysing Resources). These subjects challenged my brain in ways it hadn’t been challenged in a very long time, yet what I have gained from them is a deeper understanding of research methodologies, leadership skills, and understanding the depth of cataloguing practices, all of which have added to my knowledge base. I believe I am proficient at the ASLA Standards 2.1, 3.2 and 3.4, and certainly developing in the standard of Professional Knowledge – my growing confidence coupled with more experience and what I have learnt in the master’s degree sees this standard continue to develop more every year.

I know I need to improve on Standard 2.2, Learning and Teaching. In this area, I now understand I need to make myself more visible to teaching staff by promoting myself as a valuable resource of collaboration. This is something I struggle with as I haven’t felt confident enough to put myself out there, and I really need to shake the “newbie” feeling that still lingers. Likewise, I need to have more confidence in my abilities as a leader (Standard 3.3) by actively engaging in school leadership (something I have kind of fallen into through my curiosity about Generative AI and how that will impact pedagogy, but again, don’t necessarily feel confident in).

Another area of growth is my management of our Resource Centre page (related to Standard 2.1), in which numerous updates to our school referencing policy, referencing resources, and database management need to happen in order for it to be more efficient and utilised. IT skills are not my strength, so this will require some training and development to see this through, as well as more consultation with staff and students about what they need this resource to be. I then need to figure out how to promote this, again through more collaboration with staff. The pandemic showed us that digital collections are incredibly important, with Talbot (2023) stating that collaborative conversations are essential to ensuring their relevance, as well as meeting “many varied standards to achieve professional success.”

Ultimately, I think my strength lies in how much I am loving my job and my own commitment to the profession (Standard 3). I see myself as a lifelong learner with no plans to leave my role; I have reached out to numerous TL networks to join in and foster my firm belief that every school needs and deserves an excellent teacher librarian. While I am not quite there yet, my experience of educating myself through the master’s degree and the skills I have gained by working in the role for the last three and half years have hopefully set me up for an incredibly fulfilling and exciting career.

REFERENCE LIST:

Australian School Library Association. (2004). Standards of professional excellence for teacher librarians. https://asla.org.au/resources/Documents/Website%20Documents/Policies/TLstandards.pdf

Danielson, C. (2007). The many faces of leadership. Educational Leadership, 65(1), 14 – 19. http://www.ascd.org/publications/educational-leadership/sept07/vol65/num01/The-Many-Faces-of-Leadership.aspx

Hall, J. (2021). Integrating visible wellbeing into library practice. FYI 25(1).

International Literacy Association. (2022). The essential leadership of school librarians. Literacy Leadership Brief. https://www.literacyworldwide.org/docs/default-source/where-we-stand/the-essential-leadership-of-school-librarians.pdf

Merga, M. K. (2021). Libraries as wellbeing supportive spaces in contemporary schools. Journal of Library Administration61(6), 659 – 675. DOI: 10.1080/01930826.2021.1947056

Oddone, K. (2023). Empowering school library staff to navigate the AI frontier. SCIS Connections, 126(3), 1 – 3.

Proud, K. (2020). Working together: collaboration between libraries and bookstores. SCIS Connections, 112(1). https://www.scisdata.com/connections/issue-112/working-together-collaboration-between-libraries-and-bookstores/

Strachan, S. (2023). Empowering school library staff to navigate the AI frontier. SCIS Connections, 126(3), 12 – 13.

Szalacha, L.A. (2003). Safer sexual diversity climates: lessons learned from an evaluation of Massachusetts Safe Schools program for gay and lesbian students. American Journal of Education, 110(1), 58 – 88.

Talbot, K. (2023). Supporting learning: a digital collection tale. SCIS Connections, 124(1), 1 – 3.

Yorio, K. (2021, November 4). School libraries 2021: Fostering relationships between students and community members. School Library Journal. https://www.slj.com/story/school-libraries-2021-fostering-relationships-between-students-and-community-members

 

 

ETL512 - Professional Experience & Portfolio

Three Themes

Libraries as safe spaces

In my very first blog post, I discussed the role of the TL. My first line? The moment I realised how important it is for schools to have a teacher librarian was the moment I realised what it’s like to not have one. Reading back on this, I am pleased to say that everything I said still stands – in particular, my focus on the library being a hub and safe space for all students. I even mentioned how at my last school, the person who ran the library was so scary that students begged not to go there. I knew immediately that I would never make students feel this way about my own library.

The definition of safe is ‘not likely to be harmed or lost’, and for me this was my primary goal in my first year of being a teacher librarian – making our library somewhere students wanted to be in the often-difficult world of high schools and adolescence. Of course, it was 2020 and COVID hit, but that just further highlighted the need for strong community spaces once we could no longer access them. Research by Merga (2021) concluded that school libraries can be “highly valued safe spaces for avid users”, with their value lying in “their capacity to foster belonging and sanctuary, allow exposure to books and opportunities for reading, and provide a space for relaxing and recharging.” In my four years as a TL, I can confidently say that the small team of myself and my library technician have created this space for students. Library usage post-COVID has soared, with the biggest challenge for us being a lack of physical space – a Year 12 student videoed the library (see link below) to show administration how busy the space was during a lunch break (so far, still waiting on an increase in space, but we’ll see!).

The Library at a busy lunchtime!

A part of Merga’s study (2021) that resonated with me personally was that the pastoral care contributions from library staff often go unrecognised by school leadership. During my professional placement, I witnessed the necessity of the public library as a space where everyone feels welcome and no one gets turned away – a school library is similar to this, except on the much deeper pastoral care level that comes with working with young people on daily basis. Your relationship with them is often just as important as what they are learning, and I have found this to be true in the library, where your list of “regulars” is often evolving and growing as the students need you. The study visit with Lake Tuggeranong College teacher librarians (H. Godfrey & L. Korodaj, personal communication, May 1, 2023) included an answer to a question about the characteristics of an effective teacher librarian – ‘gentleness and emotional intelligence’, ‘cheerfulness and warmth’, and ‘firm and pushy, but likeable about it’ were qualities they mentioned, as well as knowing your students and what they want/need. Sometimes what they want is a space to hang out with their friends, but sometimes what they need is a space where the library staff are genuinely happy to see them, let them hang out behind the counter and eat, venting their worries and concerns. As Hall (2021) said, “we are not judgemental, we are not assessing them…this is important because these friendly chats with a trusted adult outside their home or classroom may be what they value most in their day.” It is why a library space is often unquantifiable when measuring their worth – it is difficult to measure the seemingly insignificant everyday moments on a data table.

The library should be a place where diversity is celebrated, and students can see themselves reflected in the collection. My assignment for ETL402 Resourcing the Curriculum focused on the inclusion of LGBTQIA+ texts in school libraries, and I discovered that “students feel safer in schools that have LGBTQIA+ issues in the curriculum” (Szalacha, 2003). The school curriculum is lacking in this area, but that doesn’t mean the school library collection has to. I have spent the last few years purchasing more of these texts, labelling them with rainbow stickers to identify them in this genre; being at a Catholic school, I wondered if I would face some challenges around this, but so far it has not been a problem. In fact, students have commented how much they love seeing rainbow flags on the spines of books. In conjunction with this, I have offered the library space as a place to display our support for students during Pride Week and days of celebration, like Wear it Purple Day. Students hang the Pride flag in the library window, come in and select texts to display, and use the space to hold events and meetings. By making the literal space visibly welcoming, we play a part in helping students know they will always belong in the school library. We have also built up a picture book collection for a Year 7 English unit, in collaboration with teachers, by selecting texts which are diverse in manners of race, gender, sexuality, religion and culture, as well as adding to our First Nations and Asian voices YA collection. We often promote female empowerment as well – being a girls’ school, it is imperative to include female voices and experiences in our collection.

Students genuinely appear to love our library (see pictures below – apparently it even smells nice?). We offer book clubs, host Write a Book in a Day fundraising events, expose students to professional writers and illustrators through our Girls Write Now Literary Festival, games for those wanting a break from laptops, Lego, and puzzles to work on individually or in groups, which all contribute to creating a space students want to be in. A new deputy principal commented recently that it was one of the loveliest, welcoming libraries he’s ever seen in a school – I often like to say that while we are small, we are mighty!

 

Teacher Librarian as Leader

For me, ETL504 Teacher Librarian as Leader was my most challenging subject throughout the course. Looking back, I think this may be because I did it quite early on into the degree, when I had only been a TL for a few months, so I couldn’t see at the time how I was leading in any way when I was just finding my feet. I have since come to realise the power of the quiet or unnoticed leadership of the teacher librarian. For me, it has been demonstrated through the organisation of multiple events where I am the sole leader; through the hundreds of questions I am asked daily; leading my library technician and asserting my decision making skills; and learning to advocate for budget increases, amongst many other things.

In my blog post from September 30 2020, I discussed the words of Danielson (2009), in which they stated that teacher librarians often rise from the teacher ranks to lead from the middle. I feel this is something that has absolutely applied to my practice, particularly recently with the arrival of generative AI and all the complications that brings with it. To put it bluntly, no one in my school seems too concerned about AI and what that means for our teaching practices, yet from everything I was reading, I couldn’t understand how this was not at the forefront of our leadership team’s mind. Put simply, it’s going to revolutionise the way we teach. I began by looking at it from a referencing and plagiarism point of view, posting information to our whole-school Teams page whenever new information arose. My principal then approached me and asked me to investigate this further, in collaboration with our head of IT. According to Oddone (2023), leading learning and teaching about AI means looking at the ‘big picture’, while teaching with AI gives many opportunities for library staff to take an active role in what this may look like for their school. I am quite book-ish and find technology to be one of my biggest challenges, yet here I now am I leading the investigation into how this is going to be handled as everyone realises how important it is. I have taken it upon myself to attend multiple PDs around generative AI in schools, and my principal is now looking to me to take the lead, despite the fact we have a middle leader of pedagogy who could really sink their teeth into this. I tend to be a reluctant leader when I don’t feel 100% competent in something, and I certainly don’t feel competent in Generative AI; however, Strachan (2023) argues that now more than ever, with teacher shortages, burnout and fatigue, the teacher librarian can be the one to step up as expert leaders, advocating on behalf of our colleagues for more professional development for every teacher in regards to AI. She also states that it is imperative that TLs keep up to date and share current research on AI tools and their pedagogical impact, something I have been doing now for months when no one else seemed too concerned.

I have come to realise I am a quiet leader, but I can speak up when I need to. The International Literacy Association stated in 2022 that teacher librarians as leaders fall into the following three categories: librarians as collaborators, librarians as advocates of literacy advocacy, and librarians as providers of access. I could write a whole paper about these three areas, but looking through the descriptors made me feel that I am, in fact, a leader in my school. My strength is in conversations and collaboration, as per category one; I empower students through ensuring our collection reflects them and their experiences, as per category two; and I advocate for student access to all kinds of resources, regardless of challenges I may face as I am a huge believer in freedom to information. My principal recently called me an “underutilised asset”, and at first I wasn’t sure if I should take that as an insult (in that I’m not doing enough or not putting myself out there enough) – instead, I chose to take it as a compliment as this was stated after a meeting where I discussed a variety of library based issues, such as AI and referencing, why we should cull some of our collection, and budgeting requirements for an upcoming writing workshop. I still have a way to go in prioritising where my leadership skills fit best in my school setting, but I feel I am on my way to clarifying that for myself and my colleagues alike.

Community connections

During my practicum at North Lakes Public Library, I realised the importance of community connection as a reason for libraries to exist in the first place. It is my firm belief that libraries of any kind – be they public, academic, or school libraries – must form connections with the community they service. In a school library, the community is obviously students and staff, but those connections can reach further, via local businesses, local authors and illustrators, feeder primary schools, other schools in the BCE network, charities and more. As Yorio (2021) says, “librarians hold a unique role in schools that allows them flexibility and the opportunity to connect students not only to books, but also to technology, critical thinking skills, and the community.” It is this connection to community I hope to continue to create and build on throughout my time at the SJFC library.

While much of the collection development decisions are made by keeping up with what is popular (due to our limited physical space, the collection must be carefully curated), we also utilise the expertise of local bookstores to help build our collection. An excellent article by Kristen Proud (2020) discusses the ways in which independent bookstores can support school libraries – as the owner of one such establishment, she believes they are more in line with teacher librarians and schools than people initially realise, supporting collection development in a multitude of ways. We have forged connections with Riverbend, a Brisbane-based locally owned bookstore which boasts a YA “expert”, whom we meet with a few times a year to see what is new and diverse in YA literature. Likewise, when our students demonstrated a keen interest in Manga (a genre neither myself nor my library technician knew much about), we utilised the help of Zombster, another independent bookstore in Brisbane specialising in Manga, anime, and graphic novels. The owner Alistair visits our school twice a year to engage students in selecting what they want to see on the shelves; he also gives us advice about which series are appropriate for certain age groups, ensuring we don’t have anything on our shelves that could raise concerns. By building the collection this way, not only are we getting their advice, we are also supporting small businesses, something I see as vitally important in connecting with our community.

Another way in which we connect with community is by hosting a primary school event with local author Yvonne Mes, who presents writing workshops to six of our local feeder schools. We make this day easy for the primary schools by covering all costs, providing transportation through our school bus, and providing snacks and showbags for our little visitors. We have done this three years in a row now, and the visiting teachers consistently comment on what a wonderful experience this is for their students, and take teaching resources away with them. Our principal once suggested we invite only the local Catholic schools (being a Catholic school ourselves), but I really pushed to include our two state schools as coming from a state school background myself, I knew opportunities like this were not very often on offer. Not only do we make connections with the primary schools, we have developed a strong relationship with Yvonne, who recommends other authors for our Literary Festival. The event also serves as an important part of our school marketing, which pleases the principal and allows us to keep funding the event. Now that I have made these connections, I plan to organise visiting reading sessions where we take a group of our girls to local schools and entertain them with some fabulous reading!

Our Girls Write Now/Youth Write Now literary festivals are a huge part of the school calendar, and allow us to connect further with the community. Held biennially, the Girls Write Now festival happens during Book Week (our “grown up version”, as we market it to the students), and includes us booking professional authors, illustrators, song writers and actors from Brisbane and the Sunshine Coast to share how they create. We also use this an opportunity to hold a parent event, inviting caregivers to join us for an evening with a parenting expert who can share their knowledge around raising teens. It is one of the only events on the school calendar which includes parents, and well-received by the leadership team. Last year’s festival also saw the inclusion of a gorgeous mural on the wall of a new building, painted by professional artist Joel Fergie and our own First Nations Cultural Leader Jess – seeing this mural come to life in one week was truly special, and our students were in awe of the creative process.

The Youth Write Now day is a branch of the original festival, which we introduced last year after I realised we had very little connections with similar schools in the area. We used this day to book diverse authors and invited students from local high schools to join us in writing workshops. While it has a few kinks that need working out, I’m very proud that I have introduced this concept to our local community and hope to build it further in the future.

 

Being a Catholic school, we obviously aim to work with charities, and the library is no different. During COVID, with all our regular programming stopped, we started a book drive to donate books to students in Sudan, collecting over 1600 books to One Million Books of Hope. In the years we don’t run the literary festival, we host Write a Book in a Day to raise funds for the Kids’ Cancer Project. Forty year 8 and 9 students plan, write, illustrate, edit and publish a book in a 12 hour period (while we supervise and feed them pizza!). It has become a much-loved event in our school, with our senior students begging to be allowed to join the juniors for the competition.

While ‘community connections’ does not directly apply to any particular subjects taught in the Masters course, I believe everything I have learnt should lead to how we as a library can better our community – it’s something I’m very proud of in my own growth as a TL that I can use my position to connect with people beyond our school library, and something I am pleasantly surprised has become part of my planning process.

ETL512 - Professional Experience & Portfolio

What makes an effective teacher librarian?

An effective TL must, first and foremost, be able to connect with people. They should be non-judgemental, making it clear that everyone belongs in the library space, regardless of race, gender, ethnicity, religion, age or sexuality. Furthermore, they should understand that the library collection must reflect the people who use it, with library users seeing themselves reflected in the selected resources.

Teacher librarians are there to support learners, and just as importantly, they are committed to being lifelong learners themselves, with an ability to adjust to a rapidly changing information and digital landscape. They should be effective communicators who are not afraid to ask questions or collaborate with others – they need other teachers as much as they themselves are needed.

Staff, students and families are the heart of the library space – by fully recognising their role to serve their clientele, teacher librarians are an essential member of any school community.

ETL402

Literature and the curriculum – reflections

At the start of this course I wrote in my journal that I felt fairly confident – I work in a high school library, I’ve been an English teacher for almost 17 years, and I thoroughly enjoy YA fiction. These advantages helped somewhat with my prior knowledge giving me a good kickstart, but what I didn’t estimate was how it would make me examine my own reading habits, and how a love of fiction connected to my own learning journey. I have never studied WW2 in detail, but I know quite a lot through my WW2 fiction phase; likewise, I’ve never learnt about Henry VIII and his many wives in an official capacity, but siphoned knowledge about this era from a series of Philippa Gregory novels.

By examining how fiction has affected my own acquirement of knowledge, I could easily see how learning is about so much more than what is written on the classroom whiteboard. Engaging in reading fiction alongside their studies gives secondary students the ability to connect with their learning in a way that textbooks can’t provide.

Beach et al (2011) discuss the “intense concern with self” that plagues teenagers today, and teachers must view these developmental theories in light of very present social and political concerns that engulf young adults. When teaching about climate change in a science classroom, for example, we must keep in mind that this is a legitimate threat, often presented as “eco-anxiety” in young adults (Sciberras & Fernando, 2021). They argue that this isn’t a bad thing as it encourages personal responsibility; I would argue that reading literature, particularly fiction, where students engage with characters ALREADY struggling in a post climate-change world encourages them to put themselves in that person’s shoes, to look at the science and our possible futures from a human perspective. Straits & Nicholls (2006) state that studying literature and practising science in combination reflects how science is actually conducted –  reading literature “generates curiosity in science, and doing science promotes enthusiasm for reading”. The same could be said for literature in other subject areas – and what a golden opportunity for schools to utilise TLs.

TLs are a resource which connects the curriculum to literature, and thus connects knowledge to the human experience. By studying a vast range of literature in combination with the curriculum, students are broadening and deepening their learning experiences. Bland (2019) states that “literary texts form a gateway to new perspectives and intercultural awareness.” Any English teacher can tell you this, but teachers of other curriculum areas may not quite understand how this can fit into their lesson plans. School staff simply must be on board with creating a culture of reading and literacy, and it must be seen as something that crosses curricular areas and reading levels (A culture of reading, 2010). As a TL, I can promote this connection through collaboration with staff and through building a schoolwide culture that values reading – putting myself, the library staff and the library itself at the forefront of collaboration, resource collection, literacy, and curriculum support and enhancement.

 

REFERENCES

A culture of reading (2010). Reading Today, 27(6), 38.

Beach, R., Appleman, D., Hynds, S., & Wilhelm, J. (2011). Teaching literature to adolescents. Taylor and Francis.

Bland, J. (2019). Learning through literature. In S. Garton & F. Copland (Eds.), Routledge Handbook of Teaching English to Young Learners (pp. 269-287). Routledge.

Sciberras, E. & Fernando, J. (2021, November 11). Yes, young people are concerned about climate change. But it can drive them to take action. The Conversation. https://theconversation.com/yes-young-people-are-concerned-about-climate-change-but-it-can-drive-them-to-take-action-171300

Straits, W. & Nichols, S. (2006). Methods and Strategies: Literature Circles for Science. Science and Children, 44(3), 52-55.

 

INF533

Assessment #4: Critical Reflection

Throughout this subject, I have felt extremely challenged regarding my beliefs around traditional storytelling. I have mentioned multiple times that I am a traditional reader (O’Brien, 2020). At first this was all very overwhelming, and I would be lying if I did not mention it continues to be so. A book is a beautifully simple piece of technology (Sadokierski, 2013) – I know what to expect and how to use it. The world of digital literature feels complex, and I still flounder as I wade my way through it. However, I think the concept which stands out the most for me is the value of storytelling regardless of the format it is presented in. It makes my teacher-librarian heart happy that young people are still engaging in the art of stories and all that encompasses – complex plots, rich character development, extensive vocabulary, and the beauty of new worlds and ideas.

The structure of the course allowed me to progress with this plethora of information – firstly defining what it means to be a book and to read in the digital age and the “technology of storytelling”, as discussed in Joe Sabia’s TED Talk. This talk was probably the turning point for me in appreciating rather than rejecting the idea of digital storytelling and transmedia. I connected with Sabia’s call to celebrate the changes that have occurred in the 6000 years humans have been telling stories (TED, 2011). Lamb (2011) also changed my mind when she discussed the need to redefine reading and gave it the revised definition of reading being “the process of constructing meaning from symbols.” Even more helpful was the further redefinition of the ‘book’: “a published collection of related pages or screens” (Lamb, 2011). Suddenly my definition of reading itself shifted, and thus opened my mind to different possibilities in the world of reading, and in particular how this applies in my current role as a long-time English teacher and a new teacher librarian.

To further examine how to use this new information, I looked past the reading of digital storytelling and its benefits and onto how it can be used for students in the 21st century, particularly when it comes to three of the six Cs – creating, communicating and collaborating (ACARA, 2014). Morra (2013) stated that “digital stories push students to become creators of content, rather than just consumers.” This was incredibly interesting to me, as one of my biggest concerns around this current generation and how they interact with media of all kinds is how passive it seems to be; the idea that creating digital stories of their own challenges this is very appealing. I suddenly began thinking of all the ways I could teach reading and writing skills with a new angle that may appeal to the so-called digital generation. I thoroughly enjoyed engaging in creating content with my own digital book and was surprised how much I engaged more with the poem. What I also found just as important was that research has shown that when students went online, they applied traditional reading comprehension strategies, even going so far as to say that these skills were considered “compulsory” in online reading (Goodwin, 2013, p. 79). This highlighted the importance of traditional reading skills being combined with the creation of digital literature in order for students to be successful in this new era of reading and storytelling.

Goodwin (2013, p. 79) brings up that while these skills are easily transferrable for already highly-skilled readers, there continued to be concerns around weaker readers struggling with digital stories. These concerns contrast with Cahill and McGill-Franzen (2013, p. 32), who claim that digital books can be useful tools for struggling readers, as it “enables the integration of an ‘easy’ medium with a ‘tough’ literacy task”, which facilitated development and decoding skills for those struggling students. Digital technology and transmedia storytelling could easily support students for whom pen and paper is daunting, and I immediately thought of current students whom I believe would thrive in the transmedia environment, particularly when it came to creating their own stories in the classroom.

Sabia (2013) said that the book used to be king; digital developers say that good content is now king when it comes to young people and storytelling (Barack, 2012). If a core element of doing our job well is to engage young people in reading and books, then it is our job as both teachers and teacher librarians to do this via the platform which is current, relevant, and engaging for our clientele. It must become our job to engage ourselves in digital storytelling and transmedia; to know that traditional books have their place, but to understand the importance of students engaging in rich, quality stories and content via a modern medium. If we continue to resist this changing platform of literature – much as I did at the start of the subject – then we are sadly failing to move with our students into a new era.

REFERENCES

Australian Curriculum, Assessment and Reporting Authority [ACARA]. (2014). Foundation to year 10 curriculum: English. https://www.australiancurriculum.edu.au/f-10-curriculum/english/?layout=1#cdcode=ACELA1428&level=F

Barack, L. (2012). Apps, shmapps. It’s about story. School Library Journal, 58(2), 12. http://ezproxy.csu.edu.au/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ulh&AN=71417800&site=ehost-live

Cahill, M., & McGill-Franzen, A. (2013). Selecting “app” ealing and “app” ropriate book apps for beginning readers. Reading Teacher, 67(1), 30–39. https://doi.org/10.1002/TRTR.1190

Goodwin, B. (2013). The reading skills digital brains need. Educational Leadership, 71(3), 78-79. http://ezproxy.csu.edu.au/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=f5h&AN=91736083&site=ehost-live

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology39(3), 12-17. http://ezproxy.csu.edu.au/login?url=http://search.ebscohost.com/ login.aspx?direct=true&db=ehh&AN=67371172&site=ehost-live

Morra, S. (2013, May 30). Eight steps to great storytelling. EdTechTeacher. http://edtechteacher.org/8-steps-to-great-digital-storytelling-from-samantha-on-edudemic/

O’Brien, K. [kylie.obrien] (2021, July 25). Assessment #1. That New Library Lady. https://thinkspace.csu.edu.au/kylieobrien/2021/07/25/64/

Sadokierski, Z. (2013, November 12). What is a book in the digital age? The Conversation. http://theconversation.com/what-is-a-book-in-the-digital-age-19071

TED. (2011, November 24). Joe Sabia: The technology of storytelling [Video].  http://www.ted.com/talks/joe_sabia_the_technology_of_storytelling.html

INF533

Poetry with a voice

At my current school, students in Year 9 English study poetry as a way to share stories in a unit called “The Art of Storytelling”. Studying poetry by nature encourages a close reading of text structures and language selection, with particular focus on figurative language and imagery. Students also examine the context in which a poem is written (person, place, historical era, culture etc).

The study of poetry allows educators to cover multiple capabilities from the Australian Curriculum English strands, including but not limited to:

Language

  • investigate how evaluation can be expressed directly and indirectly using devices, for example allusion, evocative vocabulary and metaphor
  • Understand that authors innovate with text structures and language for specific purposes and effects

 Literature and Context

  • interpret and compare how representations of people and culture in literary texts are drawn from different historical, social and cultural contexts
  • reflect on, discuss and explore notions of literary value and how and why such notions vary according to context
  • explore and reflect on personal understanding of the world and significant human experience gained from interpreting various representations of life matters in texts)

Literacy

  • analyse how the construction and interpretation of texts can be influenced by cultural perspectives and other texts
  • explore and explain the combinations of language and visual choices that authors make to present information, opinions and perspectives in different texts

(Australian Curriculum, Assessment and Reporting Authority [ACARA], 2014)

Rather than analyse a poem in the traditional sense (on the whiteboard or via a Power Point), my digital story is a visual poem based on the Oodgeroo Noonuccal poem Time is Running Out. It is a visual storytelling of the iconic poem, with links to helpful websites about the author, a verbal reading of the poem as well as a verbal analysis of vocabulary definitions, figurative meanings of words/phrases and interpretations. The choice to use this poem also connects with the cross-curricular priorities by examining the oral narrative traditions of Aboriginal and Torres Strait Islander peoples.

The digital text will enhance student understanding of the poem and its meaning, as well as model an assessment task where they will create their own multimedia visual story of a selected poem. It also lends itself nicely to the unit title, in where the “art of storytelling” will be done digitally. In doing this, students will be using the ICT General Capabilities strands of creating and communicating with ICT, as well as continue to embed the following skills in the English Literacy strand:

  • use interaction skills to present and discuss an idea and to influence and engage an audience by selecting persuasive language, varying voice tone, pitch, and pace, and using elements such as music and sound effects
  • create imaginative texts that present a point of view and advance or illustrate arguments, including texts that integrate visual, print and/or audio features
  • use a range of software, including word processing programs, flexibly and imaginatively to publish texts

(ACARA, 2014)

Book Creator has been chosen as it is free and easy to navigate, with multiple tools that students will easily pick up. Educators can create “classrooms” where students can collaborate and publish their work for the class to read. Students can operate it via Windows on school laptops, or their iPads if they have them at home. Book Creator is program that easily allows students to engage in what Botturi et al (2012) call “mastering storytelling” and the two different skill sets that requires: understanding narrative structures, and being able to give them shape verbally, visually or aurally, and with the help of various media (Botturi et al, 2012, p. 10).

The benefits of the poem being read out loud by me (or in their case, the students when they create their own digital story) will be that it appeals to students who prefer listening rather than reading, and students can engage with the intended intonation of their chosen poem. The cohort of Year 9s has quite a number of ESL students, so the fact the book can be read back to the students in a variety of languages is extremely beneficial. There is also the theory that “producing written words – that’s to say, reading them out loud – improves our memory of them” (Hardach, 2020). Indeed, I found this to be the case while creating my digital book – I have silently read this poem multiple times over the years, and it is only now after reading aloud for my piece that I believe I have memorised it!

 

REFERENCES:

Australian Curriculum, Assessment and Reporting Authority [ACARA]. (2014). Foundation to year 10 curriculum: English. https://www.australiancurriculum.edu.au/f-10-curriculum/english/?layout=1#cdcode=ACELA1428&level=F

Botturi, L., Bramani, C., & Corbino, S. (2012). Finding your voice through digital storytelling. Techtrends: Linking Research & Practice To Improve Learning56(3), 10-11. https://doi.org/10.1007/s11528-012-0569-1

Hardach, S. (2020). Why you should read this out loud. BBC Future. https://www.bbc.com/future/article/20200917-the-surprising-power-of-reading-aloud

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Post-review reflection

The world of digital literature – a virtual ocean to wade through. Initially, I underestimated how much was out there, but my eyes have been pleasantly opened!

In simple terms, a good digital literature text is one that tells a story while engaging readers using multimodal features. Of course, it can be much more than that. Groth (2018) says that “there is no uniform approach to digital literature…this can be a strength (wow, digital literature can be almost anything) or a weakness (ugh, digital literature can be almost anything)” – I admit, at first, I was the latter. It overwhelmed me that there were minimal rules around defining digital literature (where are the rules?!); however, four weeks later I’d say I now sit firmly in the former “wow, digital literature can be almost anything!” camp.

Throughout researching and engaging with my chosen digital literature texts, I subconsciously created my own criteria – is it a form of good storytelling? Are students building empathy? Are they engaged with characters and their actions? Do they want to share the story with their friends or likeminded fans? Does it challenge and/or expand their reading skills? Does it even need to, or can it just be for pure entertainment? All these criteria can just as easily be applied when assessing a traditional book, which tells me that storytelling at its core is what readers want for themselves and teacher librarians want for their students – the format may even be irrelevant.

Digital literature texts serve the purpose of being a sign of the times. Whether we like it or not, the nature of reading is changing. If “reading is the process of constructing meaning from symbols” and “a book is a published collection of related pages or screens” (Lamb 2011), then digital literature is actually easier to define than I had thought. I think the word “digital” scares people, when really, we should be excited that our students want to engage in reading of any kind. The changing landscape of reading is upon us, and we as TLs need to keep up.

In comparison to print books, “pages aren’t just turned, they are clicked and pinched and swiped – movements that need to be learned” (Sadokierski, 2013). What this means for TLs is we need to make sure our students are digitally literate before they can engage effectively in digital literature. Even in the high school setting this is important – we assume teenagers are digital natives, but we know now that that it is entirely possible they are really just fluent in TikTok. They are not necessarily engaging with digital technologies in a meaningful way; with the introduction of multimedia and transmedia digital literature, we can change that. Then there are the students who are already a treasure-trove of digital literature recommendations, who are already one step ahead of us when it comes to the digital world and can show US where to find the “good stuff”.

Jabr (2103) asked if tactile experiences while reading matter more than we think? For me personally, yes. There’s nothing better than the smell of a new book, feeling pages turn in my fingers; I found the digital world lacked warmth I find in books. Yet none of us can discount the value of digital literature platforms in a digital age. If our job as TLs is to convince young people to read, then does it matter what platform they are reading on? If they are engaging with the beauty of stories, building empathy, embracing new vocabulary, and witnessing visually appealing content, then really we just need to assess digital literature on its merits the same way we do the content of a book.

I enjoyed exploring all three of my chosen digital literature. The Amnesty podcast was engaging, but difficult for me as I’ve never been particularly good at listening for long periods of time and their banter distracted me from the story. I could, however, see how this could be used in the classroom while looking at story structure/shared storytelling and could appreciate how it would interest some readers to feel involved in the story’s creating. I loved the fandom of the online comic Namesake and how readers engaged with each other (I only wish something like this had been around in Buffy’s hey day!). The one I enjoyed the most AND could see being easily incorporated into the classroom was The Boat – as a high school English teacher, I could immediately place this in a teaching situation across multiple subjects, even before I saw that bonus teacher resources were available. Interestingly, it was also very close to an actual book in style and structure – perhaps this is why I connected with it so much.

“The content is still the part of the reading experience that provides value for the learner” (Lamb, 2011) – this is what it comes down to. All three of the texts I reviewed have valuable content, in one way or another – how that content is used and appreciated is really up to the reader (or teacher) to decide.

 

REFERENCE LIST:

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

Jabr, F. (2013, April 11). The reading brain in the digital age: The science of paper versus screens. Scientific Americanhttp://www.scientificamerican.com/article/reading-paper-screens/

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology39(3), 12 17. http://ezproxy.csu.edu.au/login?url=http://search.ebscohost.com/ login.aspx?direct=true&db=ehh&AN=67371172&site=ehost-live

Sadokierski, Z. (2013, November 12). What is a book in the digital age? The Conversation. http://theconversation.com/what-is-a-book-in-the-digital-age-19071

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Review #3 – THE BOAT (digital graphic novel)

The Boat, based on the story by Nam Le, illustrated by Vietnamese-Australian artist Matt Huynh and produced by SBS, is a digital graphic novel with interactive elements. It tells the story of 16 year old Vietnamese refugee Mai, her journey in a boat to get to Australia, and her encounters with a fellow refugee and her son. It is a compelling and relevant piece to share with students, particularly with the current climate and refugee crises across the world. The story itself is beautifully constructed, and the written text combined with the interactive elements makes this a fantastic resource to be used across multiple subject areas in the high school setting.

The digital graphic novel is “one of the fastest-growing multimodal formats that today’s visually literate youth” are engaging with (Moorefield-Lang & Gavigan, 2012). Viewing the story in this format is a perfect example of why. The sound effects of the storm, the busy city, the crash of the boat as it hits something – all are very effective at providing a multi-sensory experience for the reader. Add to this the language and music of the Vietnamese culture in the background during certain chapters, as well as visual effects such as the text rolling from side to side to mimic the movements of a boat, and what is presented is a completely immersive experience for the reader. The term “trans-sensory storytelling”, coined by Cowdy (2018), is one which describes engagement with touch and sound combined with visuals. Cowdy argues that this format actually enhances the opportunity for readers to develop empathy rather than the theory that digital literature diminishes it. The Boat is a perfect example of a text where students can easily empathise with characters by feeling like they are in the story themselves.

Like the previous two reviewed texts, this is free to access for anyone with a computer. For teachers and students in disadvantaged schools, free accessibility is paramount to engaging with digital literature, particularly if a text is to be studied in the classroom setting. Intelligently designed, students can scroll through the story at their own pace or turn on the automatic scroll function if manual scrolling is distracting, and skip backwards and forwards to different chapters, much like the pages of a book. This could help contribute to the “mapping of the book” that Jabr (2013) discusses in his article “The reading brain in the digital age”; however, as readers can’t literally turn a page or see the text in its entirety, it may affect how they comprehend what they are reading (Jabr, 2013) , which may negatively impact some learning abilities.

Further control over the text has readers being able choose to turn the sound off, or place it in “full screen” mode to limit distractions. This power over how they choose to watch/read the narrative is very appealing, particularly for classes with varying levels of ability and engagement. One critique is that it would have been beneficial if the narrative had a read-aloud function available to further enhance its usability for differentiation purposes.

For teachers, teaching resources, both creative and analytical, are available through the SBS website to support student learning of the text. Supporting material suggests the resource is designed for the English/Arts curriculum; however, this could easily be used in the Humanities and even Digital Tech subject areas, or cross-curricular work. Videos of real footage of refugees at the end of the book prompts students to connect the story with real people, and the rich descriptive language and vocabulary means there is enough literary scope to analyse language and story structure itself, making it a truly great classroom resource.

Digital fiction can be seen as ‘unruly’ in that it doesn’t conform to the conventions of traditional texts; yet they can be considered literature if they “tell a story, use literary devices and intertextual references” and if readers “make meaning from this interaction” (Allan, 2017, p. 22). If this is the definition of acceptable digital literature, then The Boat is most definitely literature. Use of this source in the classroom will allow students to engage in a world mostly unfamiliar from their own and to live in the experience of others, to interpret and analyse as well as create meaning.

Some learning theorists believe that digital storytelling can be applied to any subject as a pedagogical technique (EDUCASE Learning Initiative, 2007). The Boat is a digital text which forms a bridge of sorts for teaching and learning – one which takes the traditional narrative and presents it in an interesting and interactive multi-modal form, yet at the same time is not so foreign that those holding onto traditions of reading actual books cannot see its value and utilise its storytelling power in the classroom.

 

REFERENCE LIST:

Allan, C. (2017). Digital fiction: ‘Unruly object’ or literary artefact? English in Australia, 52(2), 21-27. https://search-informit-org.ezproxy.csu.edu.au/doi/10.3316/INFORMIT.904312437834156

Cowdy, C. (2018). Grammars of new media: Interactive trans-sensory storytelling and empathic reading praxis in Jessica Anthony and Rodrigo Corral’s ChopsticksBookbird: A Journal of International Children’s Literature, 56(1), 20-27. https://doi.org/10.1353/bkb.2018.0003

EDUCAUSE Learning Initiative. (2007). 7 things you should know about… digital storytelling. Educase. http://www.makerspaceforeducation.com/uploads/4/1/6/4/41640463/digital_storytelling_1.pdf

Jabr, F. (2013, April 11). The reading brain in the digital age: The science of paper versus screens. Scientific Americanhttp://www.scientificamerican.com/article/reading-paper-screens/

Moorefield-Lang, H., & Gavigan, K. (2012). These aren’t your father’s funny papers: The new world of digital graphic novels. Knowledge Quest, 40(3), 30-35.  http://search.ebscohost.com.ezproxy.csu.edu.au/login.aspx?direct=true&db=lih&AN=82563984&site=ehost-live

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Review #2 – THE ADVENTURE ZONE: AMNESTY (comedy podcast)

The Adventure Zone: Amnesty is a comedy podcast available through regular podcast mediums, such as Spotify, Apple etc, but even better, this is available on a free to access website. This really appealed to me as someone who has taught in less privileged schools where access to paid subscriptions was not possible for a lot of students; the ability to access this for free means any student with a laptop (even one that stays at school) could access this text.

The podcast is run by three brothers and their father (The McElroys). It is very much a “choose your own adventure” style of storytelling, with the brothers speaking in second person to each other throughout (eg. “You are working an overnight shift when…”). They banter back and forth, putting each other in situations they must figure out along the way as the narrative develops. Each episode is one hour in length and would be better suited to older grades (perhaps year 10-12) due to some inappropriate language.

The podcast breaks down each “chapter” of the story, and the authors provide a full PDF transcript to download, which I found useful and could imagine being used to analyse story structure in an English lesson. Each episode follows a “monster of the week” format, which they discuss in their set-up episode. While the site itself is quite sophisticated, the website is very easy to navigate, particularly for digitally literate adolescents. Listeners also have the opportunity to become paid members to access hours of bonus material. Each chapter is told with all original music and sound effects, which would appeal to auditory learners.

While a different platform to the previously reviewed text, it once again falls into the fantasy genre. Namesake allows new readers to engage easily from the start; The Adventure Zone feels very niche and new listeners would be quite confused to begin with. It has a very Dungeons and Dragons vibe to it that some students would respond well to, while others may struggle to get used to the “choose your own adventure” narrative style and the banter between the storytellers, which can be quite distracting at times as they veer away from the story itself.

What I find fascinating about this kind of reading is that it isn’t really reading at all; audio books (and by their very nature, storytelling podcasts) have nothing to do with reading and hail back to a time when “ancient cultures started from stories and story telling and the spoken word” (Better Reading, 2015). This text has the same feel as sitting around a fire sharing a story, except each person gets the opportunity to decide where the story is going. I can see this appealing to all kinds of students, but perhaps particularly the boys I have taught in the past who struggled to read would see the value in a different form of storytelling altogether. This text also has the extra benefit of music and sound effects, adding to the impact overall. Levy (2009) stated that “accepted understandings of what is meant by the terms ‘reading’ and ‘being a reader’ have become challenged” in this current digital literacy age. While Levy was referring more to the act of decoding online texts, this could also apply to ‘listening’ as a form of ‘reading’; or more accurately, changing the way students engage with storytelling and traditional narratives. In this way, The Adventure Zone feels very traditional, yet far removed from the traditional book, and thus may prove more engaging for many students.

Similar to Namesake, this platform also encourages the same expansion of worlds, with the podcast even having its own fandom wiki for readers to engage with. Readers can read up on interviews with the creators, as well as connect with other fans through social media, Reddit groups, newsletters etc. This concept of social reading and all that implies is further evidence that readers are not just interested in the story itself but what happens before, during and after a reading activity (ACM, 2021). Even the fact that the creators have a “set up” episode beforehand shows they know their audience and their desire to connect with their stories on a much deeper level than just reading a book may provide.

As for use in the secondary classroom, this could be great in an English class, examining narrative structure and transmedia storytelling. I’d love to see how students would go creating their own “choose your own adventure” narratives via this medium, creating “interactive and dynamic reading experiences that go beyond the printed page” (Hovious et al., 2021, p. 217).

 

REFERENCE LIST:

Association for Computing Machinery (ACM). (2021, March 2). I’ve got all my readers with me: A model of reading as a social activity [Video]. YouTube. https://youtu.be/vFvoduu8KrY

Better Reading. (2015). The power of audio books: A different way to ‘read’. http://www.betterreading.com.au/news/the-power-of-audio-books-a-different-way-to-read/

Hovious, A., Shinas, V. H., & Harper, I. (2021). The compelling nature of transmedia storytelling: Empowering twenty first-century readers and writers through multimodality. Technology, Knowledge and Learning, 26, 215-229. https://doi.org/10.1007/s10758-020-09437-7

Levy, R. (2009). ‘You have to understand the words…but not read them’: young children becoming readers in a digital age. Journal of Research in Reading32(1). https://doi.org/10.1111/j.1467-9817.01382.x

 

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Review #1 – NAMESAKE (online comic)

The first of my three reviews will focus on the online comic, Namesake. Recommended to me by a Year 12 student, this comic tells the story of Emma Crewe, a non-reader who lands in a literary world after a fire in a library. She quickly discovers she is the next in a long line of “Dorothys” and must save Oz. Mixing multiple classic storylines and characters together as Emma travels through worlds and portals, Namesake will surely appeal to lovers of fantasy as well as traditional literature classics. Written by Megan Lavey-Heaton and illustrated by Isabelle Melancon, the very fact this is a free and easily accessible text means it already has ‘pull’ for many students in the high school age group.

Reading the comic is straightforward – initial loading of the page takes the reader straight to the latest chapter, which is great for long-time fans (the most current issues are dated August 2021).  For new readers, a banner at the top allows them to access archives of the series, right back to 2010, the first year of the comic’s inception. This immediately negates the need to assess the longevity of the text – clearly it has legs if it is still going strong 11 years later. Readers can also access handbooks and “interviews” with the characters, as well as enjoy specials such as Christmas editions and extra illustrations. Additionally, readers can also head to the store and purchase hard copies of some editions and merchandise. The comic clearly caters to its long-time fans as well as new readers, which is fantastic if a teacher were to introduce this text in the classroom, or a librarian were to recommend this to students who enjoy graphic novels of the fantasy persuasion. Updates are added every Tuesday, Thursday and Saturday, giving it that “serial” feel of old-school television series. It is easy to navigate and available through any device which provides internet access.

Teenagers will enjoy the obvious world-building that has gone into the series (especially 11 years worth!). It will also appeal to students of the LGBTQ+ community, as one of the main characters is bisexual and another is asexual. The creators have even produced a one-off page where they break down the sexual orientations of specific characters. Multiple studies show that “giving young adult and teenage readers access to stories that reflect their own identities is crucial” (Fuller, 2021). The content itself, however, is innocent enough for TLs to be able recommend the text to young readers without the worry of complaints from school admin and/or parents.

Initially, the text doesn’t appear to enhance the traditional reading experience. It is very much set up like a traditional book, with arrows to change the ‘page’; however, scrolling down was necessary as the whole page didn’t fit on the screen (upon reading it on my phone I found it easier to navigate, although I still had to zoom in for each new page). I found this distracting, along with the constant pop ads interrupting the reading process (of course, a by-product of free access); however, this may not bother today’s adolescents who were “born digital” (Hovious et al., 2020, p. 217) and are likely used to navigating around and through distracting pop-ups. What I did discover is the use of ‘hovertext’ over each page/image, where little titbits of information or hidden details were revealed. This was interesting as it added to the interactive element where previously I hadn’t thought there was any, as well as giving fans further insights into the world of Namesake.

Other than the hovertext feature, the text itself is not particularly interactive and is essentially an e-book without the need for an app or particular device; however, what does set it apart is the online community that can be built through interactions with other readers. Readers can engage with the author and illustrator through their respective social media pages, and the comments section below each chapter allows readers to engage with both each other and the author/illustrator. The comments section is a lively and engaged discussion around the merit of the chapter, what they liked/enjoyed, recommendations to other editions, backstories etc. This engagement with other readers shows that young readers are not simply happy to love a book; they want to “actively celebrate what they read” (Kennedy, as cited in Valenza and Stephens, 2012, p. 78). I noted before that this text is based in the fantasy genre, and “online novel communities are more frequently based on fantasy titles than on any other genre” – perhaps because these fans enjoy interacting the fantasy world beyond the end of the novel’s (or in this case, the comic’s) story long after reading (Skaines, 2010).

Overall, a great text to kickstart my own foray into the world of digital literature, and one I will be recommending to students who love both comics and the fantasy genre.

REFERENCE LIST:

Fuller, W. (2021, February 5). Pop Cultured: The Importance of LGBTQ+ Narratives in YA Literature. The Daily Utah Chronicle. https://dailyutahchronicle.com/2021/02/05/pop-cultured-the-importance-of-lgbtq-narratives-in-ya-literature/

Hovious, A., Shinas, V. H., & Harper, I. (2021). The compelling nature of transmedia storytelling: Empowering twenty first-century readers and writers through multimodality. Technology, Knowledge and Learning, 26, 215-229. https://doi.org/10.1007/s10758-020-09437-7

Lavey-Heaton, M. & Melancon, I. (2010 – present). Namesake. https://www.namesakecomic.com/

Skaines, R. L. (2010). The shifting author-reader dynamic: Online novel communities as a bridge from print to digital literature. Convergence: The International Journal of Research into New Media Technologies16(1), 95–111. https://doi.org/10.1177/1354856509347713

Valenza, J. K., & Stephens, W. (2012). Reading remixed. Educational Leadership69(6), 75-78. http://ezproxy.csu.edu.au/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ulh&AN=73183267&site=ehost-live