Works Cited

Works Cited

Bloom, David. “Foreword: Five Way to Read a Curated Archive of Digital Literacy Narratives.” Stories that Speak to Us: Exhibits from the Digital Archives of Literacy Narratives. The Ohio State University. Logan, UT: Computers and Composition Digital Press, 2013. Web.

boyd, danah michele.  Taken Out of Context: American Teen Sociality in Networked Publics. Diss. UC Berkeley, 2008.

Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Infomatics.  University of Chicago Press, 1999.

Klein, Lauren F. “The Social ePortfolio: Integrating Social Media and Models of Learning in Academic ePortfolios.” (2013). ePortfolio Performance Support Systems: Constructing, Presenting, and Assessing Portfolios. Katherine V. Wills & Rice, Rich, Eds. Perspectives on Writing. Fort Collins, Colorado: The WAC Clearinghouse and Parlor Press, 2013.

Selfe, Cynthia L., and the DALN Consortium. “Narrative Theory and Stories That Speak to Us.” Stories That Speak to Us: Exhibits from the Digital Archive of Literacy Narratives. Ed. H. Lewis Ulman, Scott Lloyd DeWitt, & Cynthia L. Selfe. Logan, UT: Computers and Composition Digital Press, 2013. Web.

Yancey, Kathleen Blake. “Portfolios, Circulation, Ecology, and the Development of Literacy.” Technological Ecologies and Sustainabilities. Chapter 5. Eds. DeVoss, Danielle Nicole, Heidi A. McKee, and Richard (Dickie) Selfe. Utah State University Press, 2009.

Verstaendig, Rochelle.  “700,000 English-Language Learners Have a Disability.  We Have to Do Better by Them.” Education Week.  1 August 2018. https://www.edweek.org/ew/articles/2018/08/01/700000-english-language-learners-have-a-disability-we.html

 

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Authentic Writing

Authentic writing, or “real” writing, involves cultivating a piece of real-world writing to a specific audience for an intended purpose.  Some examples of real-world writing are Tweets, Facebook posts, blogs, movie reviews, etc.  These are instances of real writing that real students engage with outside of the classroom.  Even adult professionals do not adhere to Five-Paragraph essays in their career writing.  This can be particularly helpful for emergent bilingual students as well.  By engaging emergent bilingual students in meaningful writing that draws upon their individual literacy practices – their native language proficiency, how they express themselves best, and the background knowledge and experiences they bring into the classroom – students can have a much more enriching and rewarding academic and writing competency.

Authentic writing focuses on engaging students with real-world writing in purposeful ways.  Authentic writing can include writing book or movie reviews or letters to the editor, even How-To guides.  Giving students a real purpose and a real audience to write to places a value on the writing.  A case-study done by Rochelle Verstaendig on one of her emergent bilingual students revealed, “he loved participating in class discussions and telling stories about his former home life on a family farm in his native country.”  Verstaendig shares how his classmates were fascinated by his stories, and she asked him to write about his experience, so that it could be shared with students outside the class.  She explains how his typical dislike of writing was replaced by eagerness, and “slowly, his writing began to improve.”  By giving him the opportunity to place a purpose and audience to the writing he was doing, Verstaendig created an avenue for him to improve his writing in a meaningful and intrinsically motivating way.  Authentic writing opened the door for a more engaging writing process and writing practice that emergent bilinguals need to develop their literacy skills; yet, can be effective tool in the writing instruction of all students, especially in such a digitized, media-saturated world where social media platforms and online interaction preoccupy their literacy practices.

Writers Who Care Blog

 

For more on Authentic Writing, see:

Ken Lindblom, “School Writing Vs. Authentic Writing.” Writers Who Care. https://writerswhocare.wordpress.com/2015/07/27/school-writing-vs-authentic-writing/

Dean, Deborah. “Going Public: Letters to the World” Voices from the Middle 8.1 (Sept 2000) 42-47.

Ken and Leila’s Chapter 3, “Writing in the Real World: Authentic Writing Assignments.” From Continuing the Journey 2: Becoming a Better Teacher of Authentic Writing. Urbana, IL: NCTE. Forthcoming.

 

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Multimodality Projects

Multimodality projects are another excellent way for wary educators to incorporate digital media into their classrooms.  Multimodality projects are typically used as summative assessments at the end of a novel unit in ELA classrooms.  They ask students to create a project employing at least two different modes of expression to comment on and analyze an element of the text.  For example, a way to incorporate music and writing would be to write and create a song or to compile a playlist of songs and then write an album booklet detailing why those songs were selected.  They could create a music video to blend visuals and music.  Students who are more artistically inclined could create a diorama, or students can act out and film a scene from the novel.  The possibilities are endless, which give students the opportunity to create something personal to them, something that draws upon their strengths and gives them a platform to present those

strengths and interests.  The comfort and confidence students may have by being able to articulate such a project would better showcase their understanding of the unit as they are able to draw on personal connections and think deeper about topics relevant to themselves, as opposed to a traditional report that dissociates their identity from the course content.

 

For more ideas, see:

https://kcwritingcenter.weebly.com/multimodal-projects.html

https://multimodalpedagogy.com/category/multimodal-assignment-ideas/

 

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Social Media & Unfiction

One of my favorite applications for incorporating social media into the ELA classroom is the app, SocialDummy.  This app allows users to create fake, inactive profiles and posts on a plethora of social media platforms, including Facebook, Twitter, Instagram, Snapchat, Youtube, text messages, etc.  Use of SocialDummy in the ELA classroom can consist of group projects asking students to connect the literature to their own lives and technology.  Students can assume the persona of a character in the novel and create a Facebook profile or Tumblr page for that character, posting what they think that character would; or students can recreate plot points of the text through a social media platform (i.e. collages of happenings on Instagram or “Twitter Theater”).  This participation in “unfiction” activities allows students to engage with social media within the classroom, sharing their practices, knowledge, and interests in the academic setting.  As this platform is offline only, nothing can be posted to active social media or be used maliciously.  It is self-contained and the only mediation required would be in-class monitoring during group work.  In addition, the analytical advantages of assigning activities like these enhance engagement with the literature.  Instead of writing a quick write on Romeo’s character traits, creating a Tumblr page allows students to think critically and intertextually at other forms of media that would represent Romeo’s character and mental state throughout the play.  These media platforms encourage students to think much more deeply about the text by relating it to their time period and technology.  It’s no longer dissociated literature, but relevant and interesting to their lives.  Instead of thinking harder about how to write critically, students are able to think deeper about the text, its connections, and its applications.

Even if educators who are not digital natives worry about bringing technology and social media into the classroom – or if your school district still has restrictions with some technologies – there are still a plethora of means with which to incorporate social media into the classroom.  For example, during one of my placements in student teaching, the school district was extremely restrictive about which websites and applications were approved.  So, many of my lessons had to be modified to paper, as opposed to digital interaction.  One of these assignments was a simple, “Twitter Theme” exercise for my 8th-grade class.  Originally intended to be a Padlet activity, this activity asks students to create a Twitter handle, Tweet, and hashtags pertaining to the short story we had read in class.  A very short line was left for the tweet/theme to align with Twitter post restrictions, which reminded students familiar with the medium of that limitation.  This activity produced surprising and promising responses from my students, which I’ve included pictures of below!  I was most surprised by the depth of responsiveness I got from my students.  Some were creative in coming up with names of the characters, while others were creative in retaining the mystery and universality incurred by the characters of the story remaining unnamed.  This was an excellent, quick activity that allowed students to demonstrate their learning by drawing on previous lessons and conversations weeks later to create their tweets.

 

Student Samples:

 

For more information about incorporating social media into the classroom, see:

De Kosnik, Abigail. “Is Twitter a Stage?: Theories of Social Media Platforms as Performance Spaces.” #Identity: Hashtagging Race, Gender, Sexuality, and Nation, edited by Abigail De Kosnik and Keith P. Feldman, University of Michigan Press, Ann Arbor, 2019, pp. 20–36. JSTOR, www.jstor.org/stable/j.ctvndv9md.5.

Jordan, Tim. “Social Media Networks.” Information Politics: Liberation and Exploitation in the Digital Society, Pluto Press, London, 2015, pp. 120–140. JSTOR, www.jstor.org/stable/j.ctt183p2xf.11.

 

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Podcasts

Since my student teaching experience, I have seen a tremendous increase in schools pushing for ELA teachers to make use of Podcasting.  In my final placement, a 12th grade IB course, I had my students use podcasts for their summative assessment of The Catcher in the Rye.  The assignment was for them to come up with a theme song for Holden and speak about it on their podcast episode.  This project created the opportunity for so many conversations relevant to all types of writing.  It was a valuable experience for students to learn about textual features, affordances, and how to use them in their own writing/speaking.  By breaking down podcasts to a class that was not totally familiar with them introduced transferrable skills to traditional literature and all other types of media.  Having students look at conventions and features of podcasts produced incredible results in their own podcasts, such as music and sound effect incorporation, advertisements, theme songs, etc.  The creativity and engagement students displayed in their podcasts enhanced their analysis in ways that a traditional paper report lacked.  Further, having students create an analysis in this type of medium placed more emphasis on the song choice than the writing, which engaged the students even more.  Students spent more time picking a song than they probably did the recording, which is exactly what would have been the case with a report as well.  This way, students were able to engage in a much more organic, natural, and intrinsic product creation.  I’ve shared some samples below!

 

Student Samples:

https://www.spreaker.com/show/ariana-aghilis-show

https://www.spreaker.com/show/lo-show-di-thomas-caputo_1

https://www.spreaker.com/show/alexa-speciales-show

 

For more reading on Podcasts in the classroom or teaching writing through textual features, check out:

Gray, Collin. “Podcasting in Education: What are the Benefits.” The Podcast Host. January 24, 2017. https://www.thepodcasthost.com/niche-case-study/podcasting-in-education/.

Hicks, Justin, Laura Winnick, and, Michael Gonchar. “Project Audio: Teaching Students How to Produce Their Own Podcasts.” The New York Times. April 19, 2018. https://www.nytimes.com/2018/04/19/learning/lesson-plans/project-audio-teaching-students-how-to-produce-their-own-podcasts.html.

Dean, Deborah, “Framing Texts: New Strategies for Student Writers.” Voices from the Middle 11.2 (Dec 2003): 32-35.

 

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Digital Literacy Narratives

Digital Literacy Narratives function as a powerful tool for writing instruction.  Instead of teaching narrative writing in isolation, educators can modify instruction to elevate regular narratives to digital literacy-focused narratives.  These narratives serve multiple functions: they allow for students to explore and confront their own literacy practices, giving them the language and experience to tell their own stories, as well as create a class-wide narrative in a digital archive.  Digital Literacy Narratives incorporate student identity the most by providing students will opportunities to draw upon their common literacy practices, including those gained through social media.  Just as students generate profiles and participate in networked publics relevant to their constructed identities, digital narratives also provide a forum for students to present themselves in their own manner.

Where digital narratives differ – and perhaps rule over – from social media is in the restrictive elements.  Digital narratives, outside of classroom assignment requirements, can allow much more freedom for students to explore their “performances of identity” (Selfe).  Without having preestablished “norms” and behaviors for students to follow, as social media lends itself to, digital narratives allow students to explore their individual stories.  Once they are completed and compiled into a digital archive, then they are exposed to other students’ experiences, narratives, and performances, creating a much more organic communication.  Further, just like social media, digital narratives allow students to claim ownership over their stories and experiences (Bloome).  Students choose a “story to tell (or not to tell) and details to represent (or not represent)” just like what aspects of their identity or bedroom walls they depict in their social media accounts (Selfe).  The connections that students can generate between narrative writing and their social media practices can be enhanced by this shift in approach to narrative writing.  In addition, it allows students – just like with ePortfolios – an opportunity to focus away from the “clarity” and formality of academic writing (Klein 60).  They are instead able to focus on their own personal connections, experiences, and stories; thus, they are able to engage with the assignment more.  It becomes more relevant to their lives, in which they possess an intrinsic motivation to produce a meaningful narrative.

 

For more reading on Digital Literacy Narratives, check out:

DLAN, Stories that Speak to Us https://ccdigitalpress.org/book/stories/

Bloom, David. “Foreword: Five Way to Read a Curated Archive of Digital Literacy Narratives.” Stories that Speak to Us: Exhibits from the Digital Archives of Literacy Narratives. The Ohio State University. Logan, UT: Computers and Composition Digital Press, 2013. Web.

Selfe, Cynthia L., and the DALN Consortium. “Narrative Theory and Stories That Speak to Us.” Stories That Speak to Us: Exhibits from the Digital Archive of Literacy Narratives. Ed. H. Lewis Ulman, Scott Lloyd DeWitt, & Cynthia L. Selfe. Logan, UT: Computers and Composition Digital Press, 2013. Web

 

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ePortfolios

ePortfolios are a simple, yet, effective method for students to showcase their work throughout the course of an educational term.  Ranging from short-term to long-term project use, ePortfolios offer a spectrum of options for educator use in adapting assignments.  ePortfolios provide template-based online displays for student work, incorporating a variety of media and a “circulation of texts” (Yancey 1).  These digital portfolios create a “channel of communication” between the student and a variety of audiences: namely, the teacher, other students, and even audiences outside school, such as potential employers and universities (Yancey 1).  Furthermore, they allow for students to engage in a much more process-focused approach to learning and reflection.

By blending personal and education-based projects through an ePortfolio, students are able to make connections across the curriculum and beyond it.  ePortfolios are mainly dynamic in nature, drawing upon a process-based mentality that exercises a more flexible and engaging “explore and outpour” mentality” (Yancey 9).  Students are more willing and motivated to explore the medium in its social and personal contexts.  There is more freedom for them to discover and connect their learning to their personal experiences and goals.  “When teachers frame assignments in this new social context, students become more inclined to express themselves in their own voices rather than in the register of ‘clarity’ they believe is required of them in the academy” (Klein 60).  Students are able to then blend their school and learning goals with their personal goals when they are encouraged to keep an ePortfolio for the duration of their course.  For secondary education classrooms, ePortfolios allow students to reflect on a year-long summation of work, offering connections to their learning both inside and outside of school.  They work toward goals while being given a self-reflective tool to draw upon throughout the year and in further discourses.  The best part about ePortfolios is their ability to be “reiterative” and “life-wide,” thus aiding students in recognizing development as an ongoing process relevant to their present and future (Yancey 10).

 

For more reading on ePortfolios, check out:

Klein, Lauren F. “The Social ePortfolio: Integrating Social Media and Models of Learning in Academic ePortfolios.” (2013). ePortfolio Performance Support Systems: Constructing, Presenting, and Assessing Portfolios. Katherine V. Wills & Rice, Rich, Eds. Perspectives on Writing. Fort Collins, Colorado: The WAC Clearinghouse and Parlor Press, 2013.

Yancey, Kathleen Blake. “Portfolios, Circulation, Ecology, and the Development of Literacy.” Technological Ecologies and Sustainabilities. Chapter 5. Eds. DeVoss, Danielle Nicole, Heidi A. McKee, and Richard (Dickie) Selfe. Utah State University Press, 2009.

 

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Educational Applications

The ways to incorporate social and digital media in the classroom setting are endless and proven to be effective in enhancing student learning.  Here are a few ideas for media integration in that classroom that specifically draws on students’ personal experiences and connections with media, thus allowing them to share facets of their identity within their school environment.  Many of these applications also allow students to engage in more self-reflective processes, which ensures their work maintains relevancy to their own lives by facilitating “ongoing personal and intellectual engagement” (Yancey 10).

ePortfolios

Digital Literacy Narratives

Podcasts

Social Media & Unfiction

Multimodality Projects

Authentic Writing

 

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Social Media, Literacy, & the Classroom

In a secondary ELA classroom, emphasis on student development falls within reading, writing, and speaking standards.  Each of these categories of standards lies within the purview of social media.  For example, students read and interpret posts written by other users inside and outside their social contexts, memes, and videos; they write their own tweets and compose their own images; in addition, students speak through the very creation and maintenance of their profiles.  Instead of learning from teachers and books how to approach situations and circumstances, students today are learning from social and digital media.  “As teenagers learned to navigate social network sites, they developed potent strategies for managing the complexities of and social awkwardness incurred by these sites” (boyd 2).  Digital natives teach themselves how to use and operate technologies, and they intrinsically base their behaviors in networked publics off of others.  Just as these maneuverings are learned in real-life contexts, now they can be learned online on social media platforms.  It has become increasingly rare for students to write letters to their friends or even talk on the phone, but ranting through text or sending Snapchat videos lean toward a more instantly gratifying, active, and direct approach to reading, writing, and speaking than the “traditional” means of communication.  “Social media has taken social situations out of traditional contexts,” which is why there is such a push amongst teacher preparation programs and school districts to forego “traditional” means of teaching for newer, digitized instruction (boyd 4).

Once adolescents learn how to navigate networked publics within and outside their social groups, they are able to apply these skills and abilities of navigation to unmediated social situations and contexts outside of networked publics, “The publicly articulated nature of marking social relations can prompt new struggles over status and result in heightened social drama, but as teens learn to manage these processes, they develop strategies for maintaining face in a social situation driven by different rules” (3-4).  The use of social media creates transferrable communicative and navigation skills among adolescents, an effective tool aiding their engagement and acceleration in education.  In addition, the “wide array” of social media usage contributes to “everyday teen practices” as well as the intrinsic motivation teens have to incorporate facets of themselves into the networked space (boyd 2).

Teen practices and usages of social media are interconnected with their literacy learning.  Literacy involves the wide array of definitions and schools of thought; it is not simply the process of being able to read and write.  Instead, literacy extends beyond the limitations of dominant powers concurring what criteria being able to read and write aligns with.  Literacy is a range of practices, experiences, and relationships.  According to David Bloome, it:

recognizes that there are many ways of using written language and that these uses reflect various cultural ideologies about what written language should be used for, how it means, how people differentially engage in uses of written language in different contexts, and how people socially congregate during social events involving written language (Bloome).

Educators and teacher preparation programs are usually required by state certification standards to be well-versed in literacy education.  Educators should have a fundamental understanding of the range of literacy practices students of all backgrounds bring to the classroom.  Further, they should be able to incorporate and build on those practices.  As the digital archive, Stories that Speak to Us, indicates, digital narratives give students an opportunity to create their own literacy narratives.  By diving into their own literacy experiences and telling their own story, they are able to take ownership of their stories, their practices, and themselves.

When students have the opportunity to write their own narratives and share their own stories, they can have their voices heard in a new and empowering way.  Cynthia Selfe in an exhibit of the same archive writes, “In this sense, personal narratives are not only a vehicle for formulating identity, but also a way that individuals and groups tell themselves and their world ‘into being’” (Selfe).  Just like social media, digital narratives allow students a platform to reflect on their own practices and experiences in an educational setting.  They develop more than simple literacy skills, but feelings of empathy, empowerment, identity formation, and ownership of their experiences and storytelling.  Just like literacy learning, educators should push to build on what practices students already have and bring to the table within the classroom: namely, what students like and are partaking in in their free time, and how to engage them in creating authentic writing through parallels with social media.

In contrast to these principles, many schools approach phones and technology through campaigns of warning. They want students to exercise caution while partaking in the underworld publics that are more “public” than they may seem. By warning students away from their social media identities and practices telling students to put their phones away, traditional education systems dissuade them from engaging with the world at their fingertips. Or more accurately, dissuade students from engaging in a classroom so far removed from their digital literacy practices. However, teens “formally make their presence known through the explicit creation of profiles” and the use of social media (boyd 119).  In forcing students to remove themselves from their connective online identities, schools miss an opportunity to engage students in their natural, organically produced literacy practices.  While the safety issues surrounding social media are certainly prevalent, it may not be a school’s responsibility to teach students how to use social media or Microsoft Office outside a technology classroom.  Rather, schools should be making use of these technologies that students are already engaging with to enhance learning in the classroom.  By shifting gears from the cautionary tales of navigating social media (which are certainly important and meant to be shared with students!) to the positive ideologies of digital media in education, educators are making learning more relevant for students and giving them opportunities to develop ownership of their own work and transferrable skills applicable to their everyday practices.

 

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Social Media & Identity

Beyond the basic profile generation questions, social media accounts allow further customization options, such as the addition of a profile photo and biography.  The creative diversity built into the very foundations of social media technology affords participants and users of all backgrounds and intentions to create a networked space, a “digital body,” as boyd calls it, that is both indicative of a person and “the product of a self-reflexive identity production” (125).  This is where the concept of “writing oneself into being” comes into play.

danah michele boyd writes on teenagers’ participation in MySpace through their profile creation and activity.  She writes about the various uses and displays of MySpace that teens employed to give their imagined audiences their desired portrayal of themselves.  All of the featured adolescents rigidly adhered their profiles to a specific intention.  Some wanted to follow the trends of the “in-group” popular students by posting content relevant to those groups and updating frequently.  Others really only used it for its practical, communicative affordance to chat with their friends.  Some used it to document their interests or as a creative outlet.  Regardless of what stance their profiles took, they all had an intended purpose, an imagined audience, and a set of restrictions and freedoms that worked in those contexts  (see “Authentic Writing” in Educational Applications).  Students’ engagement in navigating these media is thus revealed to be not only social, but self-reflective as well.

Students, both online and in-person, are required to navigate social contexts.  How they choose to participate in these contexts informs their presentation of self.  boyd writes, “The mere act of creating a profile on a social network site requires some self-reflection” (boyd 129).  Students choose which features of themselves to present and which to cast off in order to best align with the constraints of the contexts and publics they participate in.  While boyd investigates the connections between social media profiles and “bedroom culture,” she points out that bedroom self-representations and “virtual bedrooms” differ in the “scale of the audience” (138).  There is a restrictive element of virtual profiles beheld in the nature of the imagined audience and what it is perceived that they want and do not want to see.

As such, a prevalent sense of performance and presentation associated with a profile online is created.  Students have to navigate how they want to be perceived not just in their profile, but by their audience.  What aspects of their “bedroom” they want to share and those they want to keep private. Thus, how students orient and showcase themselves online speaks to skills educators want them to hone within the classroom.  In addition, the nature of relationships explored with social media is relevant to those of literature.  Just like social media users engage with their audience, both imagined and realized, so does literature.  Social media and literature teach “the ability to forge relationships between individuals and within communities; the ability to communicate, collaborate, and share ideas within these communities; and the organic, egalitarian nature of the ideas themselves” (Klein 58).  Social media creates connections in networked publics that enable students to communicate with other users, networked spaces like hashtags, and their own digitized bodies.  The communities established in social media hinge on collaboration and participation to maintain the activity of those communities.  Once a hashtag or space becomes inactive, the community almost entirely ceases to exist.  By fostering an active community based on communication and collaboration, social media emerges as a potential outlet for educational practices.

 

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