Portable Magic

"Books make people quiet, yet they are so loud.” – Nnedi Okorafor

Category: Discussion post

Module 5.1 Discussion: digital trends

Working in a senior secondary public college, there is limited scope for embracing the latest trend in digital literacy or interactive media. A public school simply doesn’t have the funds, not is there space in the curriculum for much experimentation. With 30 weeks to teach 40 weeks worth of material and prepare students for exams, my experience has been not to get too clever. Working Padlet into my classes is about as inventive as I get.

What I do see is an increasing dependency on the mobile phone – not for learning but for distraction. Avoidance. There’s just so much going on in their lives, from relationship drama to sorting out a lift home to organising shifts at work. It’s hard to cut across that noise, so I’m not averse to integrating some form of digital learning – in the past I’ve tried student blogs, and creating memes, but these don’t have the same benefits of gamification, as described by Briggs (2016).

Their reference to the benefits of Minecraft in the classroom really highlighted for me the difference between what you can do in a primary school (or high school) setting, compared to a college. My son is in grade 6 and his teacher is using Minecraft almost every Friday morning to teach numeracy – but not just numeracy. Teams are given tasks, or challenges, to complete; doing so requires collaboration, maths skills and problem-solving, and then design and implementation followed by a reflection. Not only is my son super excited about being able to ‘play’ Minecraft with his friends in class, but he gets a chance to apply the learning in an engaging way.

Too often ‘engaging’ seems to mean ‘bells and whistles’, in digital device design. (There’s a nice bit of alliteration!) All those custom-made tablet-style devices for children, or the apps designed for them, seem to do little more than keep kids quiet. Some, like the ABC’s Reading Eggs (there’s also a maths version), are quite good at supplementing and consolidating more traditional classroom learning. The digital media mentioned by Springen (2011) are a lot more gimmicky than the publishers would like to admit. Which is why they haven’t ‘taken off’. There’s no substance to them. They’re not satisfying. You don’t get to sit with your thoughts, which we really need – our brains really need.

Springen quotes several publishers as saying they don’t intend for digital media to replace print books; what’s not acknowledged is that young people are so distracted by shiny shiny, and getting so many dopamine hits from digital media/devices, that they’re not learning how to be present for a traditional book. It’s something that needs to be taught. My son’s primary school newsletter frequently includes messages about the importance of parents reading to their children from a young age, every. single. day. Digital media aims to free parents from this ‘chore’ and create a shortcut. But there isn’t one.

I’m generalising, of course. But that’s how we make a point. And my point is, it can’t be ‘digital media for the sake of digital media’. They’re not all equal. And just plopping a device in front of a kid doesn’t absolve adults from their responsibility to teach. There’s plenty of research on the benefits of print-based reading as opposed to digital, for learning comprehension especially (Delgado et al., 2018), as well as the potential harm caused by devices on children’s creativity (Ruder, 2019). Digital devices have a lot in common with TV shows like Cocomelon, which employs the same techniques to hook toddlers as poker machines do (Kosmas, 2022).

It must surely be about balance, and choosing digital media wisely and carefully. In terms of resourcing the library collection, I can see this being more difficult. Unlike books, Teacher Librarians can’t browse devices and apps with the same ease. And it’s not always obvious how a child will interact with it, or what exactly they will (really) learn. It will take a lot more work to research different digital media – and for teachers, more work to figure out how to integrate it in such a way that students actually learn something. They’re here to stay and so much has already changed; we do have a responsibility to teach children how to safely engage with and navigate digital and online spaces.

References

Briggs, S. (2016, Jan. 16). Using gaming principles to engage students. InformED. https://www.opencolleges.edu.au/informed/features/using-gaming-principles-to-engage-students/.

Delgado, P., Vargas, C., Ackerman, R. & Salmeron, L. (2018). Don’t throw away your printed books: A meta-analysis on the effects of reading media on reading comprehension. Educational Research Review, 25 (pp. 23-38)https://www.sciencedirect.com/science/article/pii/S1747938X18300101

Kosmas, S. (2022, Mar. 17). Cocainemelon: Why toddlers can get addicted to watching Cocomelon. Evie. https://www.eviemagazine.com/post/cocainemelon-why-toddlers-can-get-addicted-to-watching-cocomelon.

Ruder, D.B. (2019, Jun. 19). Screen time and the brain. Harvard Medical School News & Research. https://hms.harvard.edu/news/screen-time-brain.

Springen, K. (2010, Jul. 19). The digital revolution in children’s publishing. Publisher’s Weekly. https://www.publishersweekly.com/pw/by-topic/childrens/childrens-industry-news/article/43879-the-digital-revolution-in-children-s-publishing.html.

 

What is Children’s Literature?

Such an interesting topic! Having been through an English degree, the word ‘literature’ is stuck in my brain as meaning something along the lines of canonical, and ‘high brow’ – I don’t agree with it but the word has been used in such a way throughout the 20th century, and that’s the meaning I grew up with. (In short: elitism, often guarded by old white men.)

So some of the definitions of children’s literature rub my feathers the wrong way – especially the definition that includes non-fiction (Ross 2014).

The definitions that resonate with me are ones like Kathy Short’s (2018), who says that literature illuminates “what it means to be human and to make accessible the fundamental experiences of life” (p.291). I can see that a lot of non-fiction can do this as well, which brings me to the sticky part: quality.

Barone (2010) explores the definition of children’s literature as being of ‘good quality’ if it meets “critical analysis” or “readers’ appreciation” (p.7), stressing that this is subjective.

Witchfairy – Book Island

Witchfairy by Brigitte Minne & Carll Cneut

Too often, it is assumed that children’s literature must be ‘simple’ and ‘easy’ because it is often defined by age range – birth to the end of adolescence (variously 16 or 18, depending on the source). But they are far from simplistic – they are often quite complex and deal with sophisticated subject matter. It is the form that creates the illusion of simplicity. Really, ‘simplicity’ is more accurately ‘accessibility’. Like adult literature, children’s literature helps readers access a complex world, shape it, understand it and thus ‘control’ it (Saxby, 1985 in McGregor, n.d.) – i.e. control how it fills their brain and helps them navigate anxiety.

Accidental Heroes: The Rogues 1 by Lian Tanner (9781760528676) - PaperBack - Children's Fiction Older Readers (8-10)

Accidental Heroes by Lian Tanner

The way that we sort literature – into adult and children’s – is by form, which publishers control. Children’s literature is going to look different – larger font, more white space, often illustrations, brightly coloured covers. The style of writing is different from adult fiction – some adult novels seem to be simply, sparsely written yet the ideas are denser, and require broader, deeper cultural knowledge and understanding of society etc.

Some works of literature sit uneasily across manufactured, age-based divides, reminding us that, originally, there was no ‘children’s literature’; children read adult books (Barome, 2010, p.8).

Honeybee - Craig Silvey -- Allen & Unwin - 9781760877224 - Allen & Unwin -  Australia

Honeybee by Craig Silvey

Books such as Jasper Jones and The Curious Incident of the Dog in the Night-time are novels that I understood to be adult fiction, but which others see as children’s literature because the protagonist is a child. Yet the protagonist of My Absolute Darling is also a child but due to its graphic content I would not feel comfortable recommending it to a child (I don’t say this because I want to censor it, but because it’s most definitely an adult book about a child). So the age of the protagonist cannot be used as a sole definer of what makes a children’s book.

Having read through all these definitions and more, I can see why there’s no one clear understanding. Ultimately, children’s literature serves the same purpose as adult literature: to help us see the world in new ways, create a safe space for us to feel new feelings, and challenge us to think again. The ‘why’ seems to be similar. It’s the way this is done – the ‘how’ – that is a bit different.

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