Designing Multiliteracies Curricula for Various Target Learners (ETEC 510)

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 Designing Multiliteracies Curricula for Various Target Learners

Part Two:

Designing a Multiliteracies Curriculum for High School Learners

Chantal Drolet

Objects presented on educational wiki: http://sites.google.com/site/multiliteraciescurriculum/Home

University of British Columbia

2009

 

Introduction

            In our connected world, it has become indispensable for students to comprehend and represent knowledge in a multitude of formats. Consequently, new educational approaches using digitally based literacy tools such as audio, video, and various digital systems, are increasingly required.

Concepts and Assumptions

Shifting media perception.

Today’s media comprise a kaleidoscope of viewpoints that can be retrieved from numerous sources. The time of exclusive values promulgated by a few powerful media conglomerates has passed. Of course, information providers are still predominantly owned by large corporations, but the content has become so multidimensional that the control of ideas is eroding. Blogs, vlogs, wikis, websites and videos of all kinds and with a variety of ideologies populate the web and offer a wide range of perspectives.

The current vibrant and challenging media communication environment has placed teachers in a position of educational designers (Richards, 2005). In UNESCO’s (United Nations Educational, Scientific and Cultural Organization) vision, teacher education is a focal point, with the intent of revising educational processes to include new literacies into their practice and “provide them with appropriate pedagogical methods and curricula”, (UNESCO, 2009, Communication and Information Activities, ¶5).

Terminology

For the sake of concision and clarity, in the following pages:

Communication Technologies Paradigms

Multiliteracies as fundamental rather than accessory. In his book “Literacy in the new age”, Kress (2003) argues that new technologies facilitate the incorporation of visual representations, audio components, and moving images, such as digital film. For him, these modes are directed by a distinctive reasoning. This new way of thinking transforms the organization of concepts, meanings of texts, conceptual formats, as well as knowledge structures.

This interpretation of contemporary literacy validates the need for, not only adding technologies to old processes, but rather redefining and redesigning curricula with the intrinsic support of communication technologies.

Exploring design in academic literature

In search of a multiliteracies framework

Through a social constructivist lens, such as prescribed by Vygotsky (as cited in

Atherton, 2009, n. p.), communication tools may lend themselves to collaborative learning but are still not included as part of the language fundamental to the process. As a proponent of constructivist learning environments (CLEs), Jonassen (cited in Gosse, Gunn & Swinkels, 2002, n. p.) also denies technology the role of a direct mediator of learning. For him, learning is influenced by thinking; while thought is caused by activities; themselves transformed by instructional intercessions, which may comprise some technology.

These aforementioned approaches come with assumptions that ICTs are simple additions to a linear educational process.

Multiliteracies curriculum design for a pluralistic society: A change to this paradigm came about with a multiliteracies perspective instigated by the New London Group (1996):

“The multiliteracies that have become increasingly important

in our technologically-evolving, globalized economy include

information, communication and media technology, as well as

culturally specific literacies required to function in a culturally

diverse pluralistic society (New London Group, 1996).”

Three key aspects of a multiliteracies philosophy were identified: a) pedagogy: a call for educators to become designers of learning, b) diversity: presenting a broader view of literacy than portrayed by traditional language-based approaches, and c) multimodality: a need for a multiplicity of communication channels.

Cope and Kalantzis (2004), who were members of the New London Group, used the

multiliteracies orientations as a basis to create what they call the learning by design framework. In this construct they define pedagogy as “learning by design” or “knowledge processes selected and deployed by the teacher”. Along with Mills (2006), Cope & Kalantzis (2004) describe these knowledge processes as:

•1.      Situated practice – experiencing: (situating meaning in real contexts)

•2.      Overt instruction – conceptualizing (using a metalanguage of design)

•3.      Critical framing – analyzing (interpreting social contexts and purpose of designs)

•4.      Transformed practice – applying (transforming meaning to design new ones)

The following sections will take a look at the implications of this pedagogical design framework for various age groups.

Part One: Designing a Multiliteracies Curriculum for Elementary Learners

(see wiki)

 

Part Two

Designing a Multiliteracies Curriculum for High School Learners 

Students’ access to an array of communication tools is no longer easy to restrict. Some schools have banned Facebook as well as various public forums in an attempt to restrain access to such popular and potentially unsafe interfaces. Yet many educators are now considering the inclusion of these instruments in their curriculum design rather than denying their students the authorization to use the digital age’s ever expanding new tools. Instead of sheltering students from the potential harm of communication technologies, these educators opt for the prevention of undue risk taking by educating young people about the tools.

Many UNESCO affiliated countries officially acknowledge this reality via their educational associations. This endorsement is inspiring some teachers to redesign their curriculum. These educators endeavor to include digitally based literacy as an inherent part of their pedagogical strategies, rather than using technology as an add-on to their practice.

Multiliteracies: Models in Transformation. The European Charter for Media Literacy was initiated by the UK Film Council in 2006 and endorsed by a number of European countries. Some of its objectives are:

  • “to raise the public profile of media literacy and media education

in each European nation, and in Europe as a whole.

  • to encourage the development of a […] network of

media educators in Europe, […] enabled by their

institutional commitment.” (UK Film Council, 2006)

In a high school context, the commitment to design of such a curriculum must respect adolescents’ attributes. Adhering to the California department of education’s definition of teenagers’ characteristics, they are as follows: Physical and hormonal development; sudden & intense emotions; ability to think abstractly; social consciousness; and search for identity. Their needs are described as: need for approval; success; fairness; opportunities for voice; experimentation; making connections with peers; autonomy and belonging. 

Multiliteracies in action: using digital film production to learn Spanish

To explore the steps recommended in a “learning by design” model, the following section examines a film project experience in a grade 11 pre-AP Spanish language class.

            The objective of the activity is to create an awareness of the Hispanic world through a multiliteracies process. A basic assumption is that by using this participatory approach, students immerse themselves in various Hispanic cultures while producing a document attesting their linguistic proficiency. Using Kalantzis & Cope’s parameters, initial guidelines may take this form:

Learning by Design  Spanish Project 
Situated practice – experiencing: (situating meaning in real contexts)   Watching an authentic Spanish movie: Find a Spanish (or Hispanic) film to emulate and select a 10 minute section to reproduce. 
Overt instruction – conceptualizing: (using a metalanguage of design)  Using technology in Spanish: Find the script on the internet or watch the film with subtitles so as to transcribe your part. Film the part of the movie you chose with your own interpretation. 
Critical framing – analyzing: (interpreting social contexts and purpose of designs) Deconstructing and reconstructing: Edit your footage with subtitles in Spanish and use cultural components (Latin music, appropriate costumes, etc.) 
Transformed practice – applying:  (transforming meaning to design new ones)  Screening the new version of the film: Clarifying the theme  Explaining the story of the film (or choice of interpretation) Describing the characters  Elucidating on what was learnt about the Hispanic culture 
Cope & Kalantzis (2004)Mills (2006)  

 

Infusing structure to the flexibility. In addition to the aforementioned selected knowledge processes, other facets of design must be considered. The instructional content, materials, resources, procedures, and assessments should also be adequate (Wright & Darr, 2009).

Instructional content. This part of the design had to be prepared and expectations established before starting the activity. For example, students were to speak in the target languages during all the various phases of production. In order to do so, at least some necessary vocabulary had to be established in the preliminaries. However, much freedom was given to the students with the choice of film, theme and characters they could select.

Materials. It was taken for granted that the computers, cameras and editing systems were in place to permit such a project to even be conceived.

Resources. The main objective was the second language acquisition, rather than digital film technology itself (Johnson & O’Brien, n. d.). Therefore, the teacher in charge had to possess the necessary technological skills in order to minimize technological hurdles. Students’ access to various films, through the internet, movies on demand or other such resources, was also of great value.

Procedures. It goes without saying that the project length (of maximum 10 minutes) as well as the due date would be determined at the very start. What’s more, the students’ linguistic abilities were sufficient to conduct the experiment in Spanish. Their maturity level allowed them to tackle the demanding time frames and organizational stumbling blocks. A cross-curriculum experience was possible due to some of the students’ knowledge in digital filmmaking.

Assessment. Part of the strength of such a pedagogical design is the wide range of possibilities offered in the evaluation scheme. Diagnostic (thinking of all the films they knew), formative, summative, peer and self assessments can all be part of the plan. The need to engage students in their learning experiences and to contribute to the design of instructional strategies and assessment procedures (Kushman, 1997) is also realized.

Diversity & Multimodality

Diverse cultural and social learning experiences. Designing a film in Spanish, just like producing a claymation film, “is a collaborative and creative venture that draws upon a range of affordances, tools, and semiotic resources to orchestrate meaning across modes” (Mills, 2006). A noteworthy change is required, instead of a precise duplication of an existing design. This project incorporates global connectedness and goes hand in hand with a philosophy of global citizenry (Smith & Woodward, 2007). Students re-express reality in an original manner, showing communication competence and cultural understanding by means of an amalgamation of forms of meaning: linguistic, moving visual, audio, spatial, gestural, and digital (Cope & Kalantzis, 2000).

Scaffolding the multimodalities. The basic devices and operations needed for the creation of a digital film in Spanish are as follows:

  • 1. Web research: Learning to use the Internet as well as other sources in a safe and perceptive manner in order to decide what film to choose as a basis for their cinematic interpretation.
  • 2. Microphones and digital musical instruments: Learning about the link between sound and emotional responses as well as identifying and experiencing the musical artistry of Hispanic cultures.
  • 3. Editing software: Learning about sequencing events, layering meanings as well as manipulating video, audio and subtitles (in Spanish) to achieve desired effects.
  • 4. Screening & distribution (DVD or on the web): Learning to transfer the final product on digital formats as well as to pitch and present it to an audience in the target language.

As mentioned previously, young people go through various stages of development physically, emotionally and intellectually. An approach using multiple kinds of literacies, through the use of technological tools, caters to teenagers’ need for kinesthetic activity. The emotional and social aspects of their growth are accommodated by the engaging attributes of communication technologies (Killen, 2007). Teenagers’ intellectual skills are enhanced by the ability to abstract knowledge and reconfigure it in their own image. This characteristic of a multiliteracies approach also coincides with their search for identity.

An approach using multiple kinds of literacies also agrees with teenagers’ basic needs.  In particular, the communication component of a multiliteracies methodology appeals to young people since it allows them to express their voice and opinions while making connections with peers.

Part Three: Designing a Multiliteracies Curriculum for Adult Learners

(See wiki)

 

General Conclusion

Establishing a multiliteracies curriculum for students of all age-levels requires strong pedagogy, diversity, and multimodality. This pedagogy is described as learning by design (Cope and Kalantzis, 2004) and the processes are: situated practice, overt instruction, critical framing, and transformed practice.

…

In a high school environment, with or without the help of educational institutions, high school students’ multiliteracies skills are improving outside school (Alvermann, 2001, p. 17). Teenagers, perhaps more than any other group, have embraced new technological tools and are using them. By respecting this propensity towards multiliteracies, educators can develop sound pedagogical practices incorporating developmental teenagers’ characteristics in their curriculum.

…

In general, a social-constructivist theory, in conjunction with a multiliteracies approach, is conducive to successful curriculum design for learners of different age levels.

 

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