Critical Literacy for 2019 MCRR Conference
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Critical Literacy for 2019 MCRR Conference
- 1. Promoting Social Justice Through Elizabeth Fogarty Lecturer, Curriculum & Instruction Critical Literacy Lindsay Robinson PhD Graduate Student, Curriculum & Instru
- 2. 3 most important things you hope to develop instudents 3 problems that need to be solved
- 5. Stereotypes
- 14. Critical Literacy = examination of text + using info to solve problems
- 15. THE GUIDED COMPREHENSION DIRECT INSTRUCTION FRAMEWORK (McLaughlin & Allen, 2002a)
- 16. Explain what the critical literacy strategy is and how it works. Demonstrate the strategy, using a think-aloud, a read aloud, and an overhead projector or white board. Guide the students to work in small groups or with partners to create responses. Practice Reflect by having students work with partners or independently to apply the strategy. on how the strategy helps students read from a critical stance.
- 17. (McLaughlin & Allen, 2002a) Explain what the critical literacy strategy is and how it works.
- 18. ProblemPosing Who is in the text/picture/situation? Who is missing? Whose voices are represented? Whose voices are marginalized or discounted? What are the intentions of the author? What does the author want the reader to think? What would an alternative text/picture/situation say? How can the reader use this information to promote equity? McLaughlin & DeVoogd (2004)
- 20. ProblemPosing Who is in the text/picture/situation? Who is missing? Whose voices are represented? Whose voices are marginalized or discounted? What are the intentions of the author? What does the author want the reader to think? What would an alternative text/picture/situation say? How can the reader use this information to promote equity? McLaughlin & DeVoogd (2004)
- 21. (McLaughlin & Allen, 2002a) Demonstrate the strategy, using a think-aloud, a read aloud, and an overhead projector or white board.
- 22. Who is in the text/picture/ situation? Who is missing?
- 23. Whose voices are represented? Whose voices are marginalized or discounted?
- 24. (McLaughlin & Allen, 2002a) Guide the students to work in small groups or with partners to create responses.
- 25. What are the intentions of the author? What does the author want the reader to think?
- 26. (McLaughlin & Allen, 2002a) Practice by having students work with partners or independently to apply the critical literacy strategy.
- 28. (McLaughlin & Allen, 2002a) Reflect on how the strategy helps students read from a critical stance.
- 29. How can the reader use this information to promote equity?
- 31. solve 3 problems? develop3 things? How can Critical Literacy help us:
- 33. Using Problem Posing to Challengethe Text
- 35. (McLaughlin & Allen, 2002a) Explain what the critical literacy strategy is and how it works.
- 36. ProblemPosing Who is in the text/picture/situation? Who is missing? Whose voices are represented? Whose voices are marginalized or discounted? What are the intentions of the author? What does the author want the reader to think? What would an alternative text/picture/situation say? How can the reader use this information to promote equity? McLaughlin & DeVoogd (2004)
- 37. (McLaughlin & Allen, 2002a) Demonstrate the strategy, using a think-aloud, a read aloud, and an overhead projector or white board.
- 38. Who is in the text/picture/ situation? Who is missing?
- 39. Whose voices are represented? Whose voices are marginalized or discounted?
- 40. (McLaughlin & Allen, 2002a) Guide the students to work in small groups or with partners to create responses.
- 41. What are the intentions of the author? What does the author want the reader to think?
- 42. (McLaughlin & Allen, 2002a) Practice by having students work with partners or independently to apply the critical literacy strategy.
- 43. What would an alternative text/picture/ situation say?
- 44. (McLaughlin & Allen, 2002a) Reflect on how the strategy helps students read from a critical stance.
- 45. How can the reader use this information to promote equity?
- 47. Problem Posing: Switching • Students respond to questions around one of several topics. • Then they think about how the story would be different if that element were changed. GENDER RACE SETTING LANGUAGE THEME EMOTION
- 48. Alternate Perspectives ALTERNATIVE TEXTS JUXTAPOSITIONING MIND AND ALTERNATIVE MIND PORTRAITS THEME-BASED FOCUS GROUPS CHARACTER SUBSTITUTIONS JUXTAPOSITIONING TEXTS CHARACTER PERSPECTIVES PHOTO JUXTAPOSITIONING
- 50. Are we ready to have the critical conversations we need to have? Are we willing to question the books that are used? The novels that are promoted? The kinds of conversations and discourse we have in our classrooms? And are we willing to question our own practices? #ILA
Editor's Notes
- Goal: Understanding what critical literacy is… We have an issue in gifted education in that we’re often more comfortable delivering pre-packaged curricula than curricula for which there are no “right” answers and which may yield more questions than tidy answers. So there’s two questions we need to ask ourselves today. The first is “Why should we be teaching critical literacy?” and the second question is “Why should we be teaching critical literacy to gifted students?” Why should we teach critical literacy? Students need to be critical consumers of text Students should question and challenge issues of social justice Avoid blindly accepting messages in front of them
- https://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story?language=en
- When I was teaching 5th grade in Cannon Falls, Minnesota, I had several students with strong opinions. Gifted students can be suborn. I’m not sure how many of you have noticed this interesting trait. Sometimes with very smart students, they can become convinced that they know something when, perhaps they may have made an assumption based on opinion instead of facts. These were probably statements that they had heard their parents or extended families make and then adopted the thoughts as their own. At other times they’d formed the opinions on their own. The trouble was that they were based on stereotypes and that they were both unfounded and potentially hurtful. Of the stereotypes my 5th graders held that year, there were several that bothered me. So, to diffuse responsibility, I asked them the following question . . .
- Some people have a Single Lens because their experiences have not led them to uses multiple lenses. That is they may be from a small town that has little racial diversity, for example. Or, the fact that someone is white with little exposure to people of color, may limit their realization of their own whiteness and the privileges it affords. Quote from Felton (2017) Matthew Lynch Ed.D, award winning writer and editor of The Edvocate, explains that the larger the disparity between complexities of the real world and the microcosmic school environment the student inhabits, the less comfortable students are with interacting with different ethnicities and the more fear they harbor. As exhibited by the rash of incidents on college campuses, this fear can too often also breed hate. Of course it’s also true that some are more cognizant of their diversity and they way that it has positioned them in the world. Young black children are often taught early by their parents how to react in the presence of police. These children are likely to realize their diversity much sooner than their white classmates. However, there are many types of diversity that one might be able to experience, such as socioeconomic diversity or religious diversity, so that even in rural areas these experiences may affect for our students.
- TASK Number 1 today is to define critical literacy.
- Goal: Understanding what critical literacy is… Friere believes that critical literacy is to read both the word and the world critically, that is, to transform the world through literacy education (Friere & Macedo, 1987) Friere and others believe that this is more of a philosophy of existence than a form of pedagogy The ability to read “texts’ in an active, reflective manner in order to better understand power, inequality, and injustice in human relationships. “Text is a way in which people communicate using a society’s conventions.” “Enable to understand messages in the modern world through a critical lens and challenge the power relations within those messages.” “Teachers encourage students to interrogate societal issues, e.g. poverty, access to education, equity, and equality to critique the structures that serve as norms.” My definition of critical literacy is – examination of a text to look for issues of power and privilege that marginalize certain groups, then using that information to address the problems. Back up – what is literacy? Most people think of reading and writing first. In fact these are foregrounded and privileged against other literacy skills such as speaking, writing, viewing, and visually representing. Privileged because they are tested.
- The other side of the coin in terms of
- In thinking about social justice, then, we, as a field need to think about the distribution of opportunities for students in our programs. This is about affording opportunities for people who don’t have them. Diversity that’s not being tapped into Re-conceptualizing where we place value in our schools. Another is about making sure that students realize that there is more than their lens and that there are power differentials that must be examined.
- Goal: Understanding the difference between critical literacy and critical thinking
- My definition of critical literacy is – examination of a text to look for issues of power and privilege that marginalize certain groups, then using that information to address the problems.
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- Tell what Problem Posing Is – a critical literacy strategy that can be used with narrative and informational text, as well as hypertext, a variety of media and conversations. After reading or viewing, readers engage in critical literacy by using questions.
- https://www.youtube.com/watch?v=Ybcr1HL7sq0
- Tell what Problem Posing Is – a critical literacy strategy that can be used with narrative and informational text, as well as hypertext, a variety of media and conversations. After reading or viewing, readers engage in critical literacy by using questions.
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- https://www.youtube.com/watch?v=Ybcr1HL7sq0
- https://www.youtube.com/watch?v=Ybcr1HL7sq0
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- https://www.youtube.com/watch?v=Ybcr1HL7sq0
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- https://www.youtube.com/watch?v=Ybcr1HL7sq0
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- https://www.youtube.com/watch?v=Ybcr1HL7sq0
- Problem-finding process – refocus our time and energies to increase the focus on REAL problems. Of course, real problems are everywhere and all around us. Moving beyond the problems of school and into the problems of the world helps students receive feedback informing their responses. Characteristics of a Real Problem (Renzulli’s Parameters for a Real Problem): Has a personal frame of reference since it involves an emotional or affective commitment, as well as an intellectual or cognitive one. A real problem doesn’t have an existing or unique solution. Calling something a problem doesn’t necessarily make it a real problem for a given person or group. The purpose of pursuing a real problem is to bring about form of change, and/or contribute something new to sciences, art, or humanities. 4 P Approach: Prescribed Presented Predetermined Pathways Predetermined Products
- Story is from 2014. A new Banksy mural showing a group of pigeons holding anti-immigration banners has been destroyed following a complaint the work was "racist". The mural in Clacton-on-Sea - where a by-election is due to take place following the local MP's defection to UKIP - appeared this week. It showed four pigeons holding signs including "Go Back to Africa", while a more exotic-looking bird looked on. The local council, which removed it, said it did not know it was by Banksy. Tendring District Council said it received a complaint that the mural was "offensive" and "racist". The artist, who chooses to remain anonymous, posted pictures of the work on his website earlier. But by the time it had been announced, the mural had already been removed due to the complaint received on Tuesday. Nigel Brown, communications manager for the council, said: "The site was inspected by staff who agreed that it could be seen as offensive and it was removed this morning in line with our policy to remove this type of material within 48 hours. "We would obviously welcome an appropriate Banksy original on any of our seafronts and would be delighted if he returned in the future." A spokeswoman for Banksy said the artist would not be commenting further on the Clacton piece. Banksy's work often makes political statements, covering subjects including global warming, wars, surveillance and poor working conditions. In the past, his art has been cut from walls and sold for hundreds of thousands of pounds. Banksy is an anonymous England-based street artist, vandal, political activist, and film director, active since the 1990s.[1] His satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- Tell what Problem Posing Is – a critical literacy strategy that can be used with narrative and informational text, as well as hypertext, a variety of media and conversations. After reading or viewing, readers engage in critical literacy by using questions. Who is in the text/picture/situation? Who is missing? Whose voices are represented? Whose voices are marginalized or discounted? What are the intentions of the author? What does the author want the reader to think? What would an alternative text/picture/situation say? How can the reader use this information to promote equity?
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- https://www.youtube.com/watch?v=Ybcr1HL7sq0
- https://www.youtube.com/watch?v=Ybcr1HL7sq0
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- https://www.youtube.com/watch?v=Ybcr1HL7sq0
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- https://www.youtube.com/watch?v=Ybcr1HL7sq0
- EXPLAIN what the critical literacy strategy is and how it works. DEMONSTRATE the strategy, using a think-aloud, a read aloud, and an overhead projector or chalkboard. GUIDE the students to work in small groups or with partners to create responses. PRACTICE by having students work with partners or independently to apply the critical literacy strategy. REFLECT on how the strategy helps students read from a critical stance.
- https://www.youtube.com/watch?v=Ybcr1HL7sq0
- Story is from 2014. A new Banksy mural showing a group of pigeons holding anti-immigration banners has been destroyed following a complaint the work was "racist". The mural in Clacton-on-Sea - where a by-election is due to take place following the local MP's defection to UKIP - appeared this week. It showed four pigeons holding signs including "Go Back to Africa", while a more exotic-looking bird looked on. The local council, which removed it, said it did not know it was by Banksy. Tendring District Council said it received a complaint that the mural was "offensive" and "racist". The artist, who chooses to remain anonymous, posted pictures of the work on his website earlier. But by the time it had been announced, the mural had already been removed due to the complaint received on Tuesday. Nigel Brown, communications manager for the council, said: "The site was inspected by staff who agreed that it could be seen as offensive and it was removed this morning in line with our policy to remove this type of material within 48 hours. "We would obviously welcome an appropriate Banksy original on any of our seafronts and would be delighted if he returned in the future." A spokeswoman for Banksy said the artist would not be commenting further on the Clacton piece. Banksy's work often makes political statements, covering subjects including global warming, wars, surveillance and poor working conditions. In the past, his art has been cut from walls and sold for hundreds of thousands of pounds. Banksy is an anonymous England-based street artist, vandal, political activist, and film director, active since the 1990s.[1] His satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world
- On July 31, 1968, a young, black man was reading the newspaper when he saw something that he had never seen before. With tears in his eyes, he started running and screaming throughout the house, calling for his mom. He would show his mom, and, she would gasp, seeing something she thought she would never see in her lifetime. Throughout the nation, there were similar reactions. What they saw was Franklin Armstrong's first appearance on the iconic comic strip "Peanuts." Franklin would be 50 years old this year. Franklin was "born" after a school teacher, Harriet Glickman, had written a letter to creator Charles M. Schulz after Dr. Martin Luther King, Jr. was shot to death outside his Memphis hotel room. Glickman, who had kids of her own and having worked with kids, was especially aware of the power of comics among the young. “And my feeling at the time was that I realized that black kids and white kids never saw themselves [depicted] together in the classroom,” she would say. She would write, “Since the death of Martin Luther King, 'I’ve been asking myself what I can do to help change those conditions in our society which led to the assassination and which contribute to the vast sea of misunderstanding, hate, fear and violence.'” Glickman asked Schulz if he could consider adding a black character to his popular comic strip, which she hoped would bring the country together and show people of color that they are not excluded from American society. She had written to others as well, but the others feared it was too soon, that it may be costly to their careers, that the syndicate would drop them if they dared do something like that. Charles Schulz did not have to respond to her letter, he could have just completely ignored it, and everyone would have forgotten about it. But, Schulz did take the time to respond, saying he was intrigued with the idea, but wasn't sure whether it would be right, coming from him, he didn't want to make matters worse, he felt that it may sound condescending to people of color. Glickman did not give up, and continued communicating with Schulz, with Schulz surprisingly responding each time. She would even have black friends write to Schulz and explain to him what it would mean to them and gave him some suggestions on how to introduce such a character without offending anyone. This conversation would continue until one day, Schulz would tell Glickman to check her newspaper on July 31, 1968. On that date, the cartoon, as created by Schulz, shows Charlie Brown meeting a new character, named Franklin. Other than his color, Franklin was just an ordinary kid who befriends and helps Charlie Brown. Franklin also mentions that his father was "over at Vietnam." At the end of the series, which lasted three strips, Charlie invites Franklin to spend the night one day so they can continue their friendship. [The original comic strip of Charlie Brown meeting Franklin is attached in the initial comments below, the picture attached here is Franklin meeting the rest of the Peanuts, including Linus. I just thought this was a good re-introduction of Franklin to the rest of the world - "I'm very glad to know you." There was no big announcement, there was no big deal, it was just a natural conversation between two kids, whose obvious differences did not matter to them. And, the fact that Franklin's father was fighting for this country was also a very strong statement by Schulz. Although Schulz never made a big deal over the inclusion of Franklin, there were many fans, especially in the South, who were very upset by it and that made national news. One Southern editor even said, “I don’t mind you having a black character, but please don’t show them in school together.” It would eventually lead to a conversation between Schulz and the president of the comic's distribution company, who was concerned about the introduction of Franklin and how it might affect Schulz' popularity. Many newspapers during that time had threatened to cut the strip. Schulz' response: "I remember telling Larry at the time about Franklin -- he wanted me to change it, and we talked about it for a long while on the phone, and I finally sighed and said, "Well, Larry, let's put it this way: Either you print it just the way I draw it or I quit. How's that?" Eventually, Franklin became a regular character in the comic strips, and, despite complaints, Franklin would be shown sitting in front of Peppermint Patty at school and playing center field on her baseball team. More recently, Franklin is brought up on social media around Thanksgiving time, when the animated 1973 special "A Charlie Brown Thanksgiving" appears. Some people have blamed Schulz for showing Franklin sitting alone on the Thanksgiving table, while the other characters sit across him. But, Schulz did not have the same control over the animated cartoon on a television network that he did on his own comic strip in the newspapers. But, he did have control over his own comic strip, and, he courageously decided to make a statement because of one brave school teacher who decided to ask a simple question. Glickman would explain later that her parents were "concerned about others, and the values that they instilled in us about caring for and appreciating everyone of all colors and backgrounds — this is what we knew when we were growing up, that you cared about other people . . . And so, during the years, we were very aware of the issues of racism and civil rights in this country [when] black people had to sit at the back of the bus, black people couldn’t sit in the same seats in the restaurants that you could sit . . . Every day I would see, or read, about black children trying to get into school and seeing crowds of white people standing around spitting at them or yelling at them . . . and the beatings and the dogs and the hosings and the courage of so many people in that time." Because of Glickman, because of Schulz, people around the world were introduced to a little boy named Franklin.