Popular Culture and Representations of Literacy – Out in Paperback!

Five years ago Amy Zenger and I published a book about the everyday literacy practices represented in popular culture, specifically in mainstream movies. We found that, when you pay attention to these representations, you begin to see interesting patterns that reflect cultural attitudes about who is allowed to read and write, in what settings, and for what social goals. I loved writing this book. Not only was it intriguing to work through these ideas, but I’ve never had more fun writing a book than I did working on this project. It’s a book I’m proud of, image_previewand liked writing and talking about. The only problem at all was that Routledge initially only published the book in hardcover – making it prohibitively expensive for most people to buy, and certainly out of the range of most students. So I was delighted to find out that Routledge has now published a paperback version of the book! I don’t know if this will result in the book getting a broader reading, but I’m just happy that there is a less expensive version out there (versions, actually, with the e-book out too). Not cheap, but less expensive, and that’s a start.

What we found in the book was that movies – from romantic comedies to dramas to action blockbusters – are filled with scenes of people of all ages, sexes, races, and social classes reading and writing in widely varied contexts and purposes. Yet these scenes go largely unnoticed, even by literacy scholars, despite the fact that these images recreate and reinforce pervasive concepts and perceptions of literacy. We argued that in popular culture representations of literacy we can see a reflection of the dominant functions and perceptions that shape our conceptions of literacy in our culture. I have found that this project has changed my sense of how literacy is perceived in the culture, and has also offered me representations of literacy that I draw on in my teaching time and I again.
And I keep seeing these patterns of literacy representations, from recent superhero movies to the films being discussed as award-winning favorites.

I won’t go on and on here, tempting as it may be. And I apologize for the shameless self-promotion. As I said, I’m fond of this book and get carried away talking about it. I understand the economic forces that publishers face and I want to make it clear that Routledge has been a splendid publisher to work with over the years. I have no complaints about them, at all – and with the paperback edition of this book, one more reason to be pleased to publish with them. Sorry to go on and on. But I am so happy to see the book out in more accessible and less expensive versions.

New Media Literacies and Participatory Popular Culture Across Borders – It’s out and about!

It’s out and about. New Media Literacies and Participatory Popular Culture Across Borders is officially published. You can follow the link above or just click on the book cover to the left. It’s been a great experience, from the fine work by the authors to the ease of working with Routledge.  Now to see if anyone else will read it.

As always with a project like this, I get to the end and the people involved have just raised so many thoughtful questions that I find myself wishing to have the time to do another volume, and another, and…. But today, it’s enough just to say this book is out. Thanks to one and all.

The simple art of listening to – and caring about – what students say

Time for a bit of rant today.

I was at a local conference on teaching recently, doing my dog-and-pony show about how students engage with digital media outside the classroom and the implications for how we approach teaching reading and writing (I’m never certain, by the way, whether I’m the dog or the pony in this particular show.) This was for a group of faculty and graduate students across a variety of disciplines. People were pleasant and polite and there were some productive questions. But, during and after the session, I was struck, as I often am by the surprise among some faculty at the idea of having ongoing conversations with students about what students know. Then I did a guest lecture at another campus and there were similar questions, and a discussion thread on a professional online list I follow went the same direction. As I said, what surprises me is that the idea of starting our teaching by talking with students about what they know still strikes many people as radical. What disheartens me is the attitude of far too many faculty and instructors that what students know is irrelevant or uninteresting.

There’s always a lot of talk in my field about having a “student-centered classroom” and often discussion about whether we should do so. But, from what I see, this is a non-issue because too often I see attitudes that are barely “student-tolerant,” let alone “student-centered.” There is so often such a lack of respect, at least at the college level, toward students. “They don’t want to do the work,” “They can’t read and write,” “I won’t read their course evaluations as long as I have a Ph.D. and they don’t.” “What they know outside of class is what I’m trying to teach against.” Sigh. No one students come into our courses wary, beaten down, and wondering about the relevance of anything we are trying to teach them. As a writing program administrator, one of my hard and fast rules has been no mocking of students and student writing – even among ourselves. It is, of course, immature, unethical, and disrespectful to do so. It is also exactly what students fear we are doing with their writing. If we don’t take their work seriously, why should they? Do we want our writing mocked by colleagues, editors, reviewers? I can’t enforce this rule, but I do try to make the point that teaching is an art of patience and compassion as much as of the transfer of knowledge.

I’m no saint. I get frustrated with students who are resistant, or seem unwilling to do the work, or dismissive of what I’m trying to teach them. And sometimes I think they are truly resistant and we won’t reach them. But, at the risk of going a bit Yoda on all this, I think underneath so much of what is performed as resistance and boredom is fear and anger – fear of not understanding or of being assessed and found failing once again, and anger at feeling belittled, humiliated, and treated condescendingly. When I find my frustration rising, I try to remind myself that you never, never know when you might get through to the resistant student. One cutting remark now might make me feel better, but loses that student in my class forever. But continued respect may allow that student to receive another comment later in the semester in a way that is productive and, once is a while, transformative. I was often a resistant student as an undergraduate. I can see myself in the student sitting in the back of the classroom, slouched in a chair, daring someone to try to teach him. The teachers I responded to were the ones who communicated respect for student ideas and created meaningful assignments. We could all tell the difference. So much recent research on student writing shows that students respond best – and by best I mean productively able to incorporate instructor comments into their writing – to instructor comments when the comments demonstrate a clear respect for the intelligence and ideas of the student. This doesn’t mean we don’t offer critique and suggestions, but just that we see students as intelligent people with ideas worth communicating, as people who want to be heard and respected.

People often ask me why I am interested in research about popular culture and student literacy practices. There are lots of reasons (I mean, I like watching movies too). But one central reason is that I am continually interested by the literacy practices students engage in outside of the classroom. Unless we understand how they read and write in the majority of their time and how they have learned about rhetorical concepts such as audience or genre or authorship, we can’t teach writing and reading effectively. And, if we want to understand the texts they engage with most often outside the classroom, we need to look at popular culture, whether it is television, movies, social networking, music, or video games. I am continually convinced and inspired by the basic ideas of pedagogy from Dewey and Freire and Murray – we have to start with what students know and help them find was to engage critically with their own knowledge. My guess is that, for anyone reading this entry, I will be preaching to the converted, so maybe it’s a waste of time. But a rant sometimes just needs to be ranted.

Again, I’m no saint. And, I know many, many excellent teachers who treat their students with respect and learn a great deal by engaging students about what they learn outside the classroom and then help students learn things that will make them more creative and critical readers and writers in our classes and at home. For every comment I hear at a conference or online that makes me want to climb the walls, there are far more that are supportive and respectful toward students. And, just as with students, I try to maintain a respect for my colleagues and continue to try to convince them that we need to listen to our students as the first act of teaching.

End of rant.

New Media Literacies and Participatory Popular Culture Across Borders – Getting Closer!

The page proofs are in and the book is listed on the publisher’s website, so that must mean it’s going to happen. While the book won’t be out until later this spring, here’s a look at the cover. I have to say, I’m rather partial to the purple. This has been a fascinating book to work on, and I’ve learned so much from the contributors and their chapters and, as always, from my friend and collaborator, Amy Zenger. I hope this book will help start conversations in a many different directions. I also like the fact that other books, like the new one Transnational Literate Lives in Digital Times (from Patrick Berry, Gail Hawisher, and Cindy Selfe) are coming at similar issues from different perspectives and making the conversation richer and more thought provoking. Anyway, here is the cover, and thanks to all the wonderful people at Routledge. More to come on this soon as well.

Spaces, language, and making meaning online

I had the pleasure yesterday of hearing a talk from Suresh Canagarajah, who always helps me refresh and re-imagine my ideas about language and movement in a cross-cultural world. Yesterday he was discussing more of his ideas about how language use is negotiated in ways the challenge concepts of monolingual standards and center-periphery conceptions of English usage. I am convinced when he argues that, around the world, people make adjustments in conversation that allow them to make meaning without concern for abstract ideas of correctness.

Where Suresh talked primarily about face-to-face conversations or hard-copy written texts, I found myself thinking about the ways I have seen similar negotiations online. When I look at popular culture fan sites I often find the people posting come from a range of different cultural and linguistic backgrounds. Though they may be writing in English (or, more to the point, in Englishes) there is a not a single set of usages that govern the conversation. Instead, usage varies from all participants, those for whom English is a first-language as well as those for who it isn’t. But there are two things I find particularly interesting. First, the kinds of negotiations that Suresh has found in his research in face-to-face settings often take place in online discussions, and it’s fascinating to track the back-and-forth of negotiations over words or usage until a meaning is found that satisfies the participants involved. I’ve written about this before, but still find it interesting to watch how it happens and the patience and generosity – rather than judgment or exclusion – that participants usually show each other.

What I find perhaps more intriguing is the way in which conceptions of space from different scholars come together in these moments. Suresh talks about how the “translocal space” is a more useful conception of where these negotiations of language take place than the idea of “place.” He sees place as a static, bounded concept that does not offer the same vision of space as an environment where things happen – interactions, negotiations, meaning making.  What I find interesting is to overlap this theorizing of space with Gee’s ideas of online “affinity spaces” where people gather online, drawn by their interests in common popular culture texts more than their conceptions of home identities. (As I’ve said in the past, I think identity plays a significant role in the creation and reproduction of affinity spaces, yet I do agree with Gee’s idea that it is the pop culture text that becomes the primary point of contact in such spaces.) If we think about the way online and cross-cultural affinity spaces are also translocal spaces of language contact and negotiation, it raises interesting questions of how the popular culture texts help mediate and facilitate these negotiations of language and meaning. Not only do the popular culture texts draw individuals together online, and across cultures, but they offer both a common cultural and linguistic touchstone for the participants. The pop culture text provides common content, rhetorical structures, and language that participants use as a resource and catalyst for their communication.

Obviously there are issues of power, of identity, and of language that still need to be worked out here, but, again the question of spaces comes up again. More on this soon. Thanks for reading.

 

The One-Way Bridge, Part 2

At a conference last week I heard several people defend the approaches to popular culture and literacy pedagogy that I define as the “One-Way Bridge.” They talked of the ways they would ask students to talk or write about popular culture texts so that material could become the content for class discussions or assignments that would help the students become more successful at school-sanctioned reading and writing. Yet at the end of their comments was often a question about why students still seemed to resist such efforts. Why, they would ask in mild frustration, shouldn’t the students be more excited about having popular culture “brought” into the classroom?

When they describe their attempt to connect to students’ interests, however, I hear descriptions similar to what I have observed in classes from middle-school to universities. There is an attempt, an exercise or discussion in which the teacher solicits material or ideas about what the students read and write outside of school. Yet what often happens is, after a few minutes, the teacher begins to drive the students over the one-way bridge to show how their work outside of school can be transformed into more valuable school work. It’s not that this is necessarily a wasted effort, but many students I talk with describe these moments as ones in which they feel as if they’ve been had. And the result of this pedagogical bait-and-switch, before too long, is that students begin develop a wariness of being asked about their out-of-school literacy practices. As one university student put it to me, in a disdainful tone of voice, “You know that if a teacher asks about movies or music you like, their just going to turn it into the lesson for the day. I’ve figured that much out.” Many students learn to regard these moments in the same way they do as a teacher-designed digital project that feels to them like a “creepy treehouse” — they learn to stay away, or perhaps play along, but keep their most interesting ideas to themselves.

Part of the allure of popular culture, including digital texts students manipulate themselves these days, is that they feel a sense of control over the interpretations, the uses, the emotions of the film, TV, games, and websites they encounter. The only assessment involved in popular culture — for them and for the rest of us — comes from our own tastes and our discussions with our friends. School work, on the other hand, is all about assessment. Now, more than ever, students have learned that the “lesson of the day” will always be graded — and that it only counts and is worth learning if the teacher grades it. It is easy to see, then, that if the students see school work as always involving the assessment of an adult, it is the antithesis of what the sense of control, pleasure, and mastery they feel when they read and compose with and about popular culture.

There are a lot of reasons this happens in the classroom and very few of them are because the teachers have nefarious motives. Instead I think that, for some teachers, there is a genuine belief that the bridge should only allow travel in one direction and that their responsibility is to bring students over that bridge to the literature and literacy practices valued in school. That’s an ethically defensible position – one that I happen to disagree with – but understandable. For other teachers, the pressure of standardized assessment and the standardized lesson plans that go with such assessment leaves them feeling they have little room for straying from traditional school-based literacy practices. For still others, there may be a sense that popular culture content may get out of control, bringing controversial work and disturbing representations into the classroom.  I believe there are answers to all of these concerns, and others, that I will continue to write about soon. But we first have to realize that a fake two-way bridge isn’t fooling anybody.

The One-Way Bridge

For a long time there has been a lot of discussion in literacy and writing education,  at both the K-12 and college levels, about “using” popular culture as a “bridge” to the print literacy genres and forms more valued – and more certain to be assessed – in the classroom. Yet it’s clear, in this metaphor, that this is a one-way bridge. The novel, the poem, the essay, the argument-based article, the research paper, all continue to be the desired destination for students in this model. Sure, we can start with the mindless and fun pop culture stuff, but then we cross that glorious bridge to the golden fields of print texts and critical thinking.

Obviously, I’ve got some problems with this model. To begin with, I’m less-than-convinced that no critical thinking goes on in the composing and interpretation of popular culture texts (and let’s remember that, today, students may very well be composing or commenting on pop culture online as well as reading it). And I’m also not the first to point out that the medium does not determine the quality of a text. There are plenty of bad novels, great films, excellent television series, and so on. Yet, while those points are worth making again (since they still seem to have not reached a lot of people), my problem with the model today is its single direction. Why must we assume that the only learning worth happening in school takes place when the base influences encountered outside the classroom are turned into the gold of academic literacy and texts? Why not, instead, approach all of the literacy practices, in the classroom and out, as connected? Why not engage students in ways of thinking about audience, detail, style, emotion, analysis, or anything else we want to teach them about reading and writing, as important ideas to consider regardless of the text and the context? Rather than approach popular culture as something to be left on one side of the bridge as students move on to more “important” work, why not help them see how the literacy and rhetorical practices we are teaching them will bring them knowledge and pleasure in all the part of their lives?

I know this is a difficult case to make, as the Core Common standards are not only generally hostile to this concept, but even more try to separate reading and writing into distinct, rather than connected, activities (more on that soon). I do take some heart in what Leslie Burns pointed out at IRA in terms of the language in the Common Core Standards that leaves some room for teaching about multimodal and digital and popular culture literacy practices. But even with that, it’s going to be an argument.

What would it take to convince literacy and writing educators and scholars to imagine a two-way bridge?

Teaching Literacies with Digital and Pop Culture Media for Grades 4-12

I’m off to Orlando and IRA (the International Reading Association) tomorrow to be part of an all-day workshop with some wonderful scholars and teachers. The workshop, “Teaching Literacies with Digital and Pop Culture Media for Grades 4-12,” includes Margaret Hagood, Donna Alvermann, Barbara Guzzetti, and many others whose work I have admired for a while now but have never had the chance to work with.

I’ll be talking about “Rethinking Reading and Writing with Participatory Popular Culture,” which continues the research from Shimmering Literacies. I’m focusing on how digital media are not only changing students conceptions of interpreting and composing texts, but blur the line between the practices of reading and writing in ways that have implications for how we teach reading and writing in a multimodal culture.

So I am grateful to be included in this workshop and looking forward to the presentations and conversations. I plan to learn a lot.

More to come next week, both about the workshop and end-of-semester reflections on the “New Media and Composition Pedagogy” seminar.

New Media Literacies and Participatory Popular Culture Across Borders

The edited collection Amy Zenger and I have been working on, New Media Literacies and Participatory Popular Culture Across Borders, has been accepted for publication by Routledge Press.  The book will include contributors from South Africa, Nepal, Lebanon, Qatar, Turkey, Australia, and the U.S.  We’ve got some great and eclectic chapters and are excited about this project (and grateful for Routledge for agreeing to publish it).

The book has two central areas of focus. First, the book explores the ways in which new media and online technologies are shaped by, and influence, the connections and tensions between transnational popular culture and local cultural practices. Participatory popular culture raises new questions about the interplay between the mass popular culture and local audience members. This collection will explore the role of new media in the economic and cultural debates about “globalization” and how those are complicated by the local uses of popular culture texts. Technologies that allow an individual to not only access popular culture texts from around the world in an instant, but also share, comment on, appropriate, and remix those same texts alter the way the way the individual perceives popular culture, and alter his or her sense of agency in regard to the texts. New media technologies have changed the relationship between mass popular culture text and individual users, and they engage individuals in new ways of negotiating language and culture.

Those negotiations of language and culture define the second focus of the collection: the influence of participatory popular culture on the literacy practices of young people. Through cross-cultural participatory popular culture, young people are engaging with and responding to global audiences in ways and to an extent simply not available to previous generations. Though we should, of course, be wary of being naively celebratory in our approach to studying these practices, there is no denying that many young people are in contact with texts and people around the world through the lenses of popular culture: Popular culture provides the rhetorical, linguistic, and semiotic building blocks through which they engage in cross-cultural discourse. They encounter these texts on a global stage, deal with issues of difference and unfamiliarity, and then rebuild them in local contexts. While their practices and ideas are certainly shaped by the popular culture content that corporations produce and distribute around the world, it is also the case that young people are appropriating and reusing these same texts to perform identities and make meaning in their own lives.

The chapters in this book, then, analyze how young people are interpreting, creating, and distributing popular culture texts across cultures, and study how young people are thinking about the role of culture in defining the nature of texts, the negotiations of language use, the employment of rhetoric, and the construction and performance of identity.  The individual chapters offer many different perspectives about local responses to these global forces from scholars working in a wide range of international contexts.  How do young people access transnational texts online, but then respond and rework them according to their local contexts and concerns about identity? How do these online practices influence their approaches to reading and writing, both with print as well as with images, sound, and video?

It’s a very different world we live in now, and exciting to be around.