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LeadinglearningfutLeadinglearningfuturesures

@libraries.com@libraries.com Rosemary Ross JohnstonRosemary Ross Johnston

University of Technology University of Technology SydneySydney

Characteristics of Characteristics of learning futureslearning futures

Perception and skills in using, adapting Perception and skills in using, adapting and growing existing knowledgeand growing existing knowledge

Interdisciplinary and multimodal carrying Interdisciplinary and multimodal carrying and transferring of knowledge and ideas and transferring of knowledge and ideas

Critical reflection on self and othersCritical reflection on self and others Cultural awareness and understandings of Cultural awareness and understandings of

difference difference Multimodal literacy skills: critical literacy, Multimodal literacy skills: critical literacy,

imaginative literacy, visual literacy imaginative literacy, visual literacy Personal resilience, ethics and Personal resilience, ethics and

‘citizenship’ ‘citizenship’

Ideas of KnowledgeIdeas of Knowledge

as story – narratives expressed in multiple as story – narratives expressed in multiple modes, texts, and media;modes, texts, and media;

as ecology – webs relating humans to internal and as ecology – webs relating humans to internal and external environments, including technology;external environments, including technology;

as genealogy – ways of relating human presents as genealogy – ways of relating human presents to common and/or uncommon pasts.to common and/or uncommon pasts.

‘‘The young of the birds are fed with flowers and fishbones but the young The young of the birds are fed with flowers and fishbones but the young of the humans are fed with words.’ (Samoaof the humans are fed with words.’ (Samoa))

The Power of Words and The Power of Words and LanguageLanguage

Language articulates and produces identityLanguage articulates and produces identity

Language articulates what it is Language articulates what it is to be:to be: many races many races believe that words produced reality.believe that words produced reality.

J. L. Austin: theory of the performative (J. L. Austin: theory of the performative (How to Do How to Do

Things With WordsThings With Words 1962), argues the integral 1962), argues the integral relationship of relationship of speechspeech to to act. act. In a performative In a performative utterance the word brings about the act which utterance the word brings about the act which constitutes the reality, eg ‘I now pronounce you man constitutes the reality, eg ‘I now pronounce you man and wife.’ and wife.’

Judith Butler extends this idea into a theory she Judith Butler extends this idea into a theory she applies to genderapplies to gender

Thus ‘It’s a girl!’ is an utterance that begins a process Thus ‘It’s a girl!’ is an utterance that begins a process of ‘girling’ (of ‘girling’ (Gender TroubleGender Trouble 1990). 1990).

The Power of Reading and The Power of Reading and LiteratureLiterature

Literature is the expression of the human need Literature is the expression of the human need to communicate, as readers and/or writers, as to communicate, as readers and/or writers, as speakers and/or listeners, using or speakers and/or listeners, using or transgressing particular conventions and transgressing particular conventions and narrative modes.narrative modes.

Books are ‘sites of the culture’s deepest Books are ‘sites of the culture’s deepest moral questionings’ (Parker 1998, p.15)moral questionings’ (Parker 1998, p.15)

They express ‘a sense of the density of They express ‘a sense of the density of our lives’ (Murdoch 1983, pp.43-9). Eg our lives’ (Murdoch 1983, pp.43-9). Eg FoxFox (Wild and Brooks) tells a dense story: of (Wild and Brooks) tells a dense story: of courage (‘I am blind in one eye but life is courage (‘I am blind in one eye but life is still good,’ Dog tells Magpie), of still good,’ Dog tells Magpie), of community (‘Fly, Dog. Fly! I will be your community (‘Fly, Dog. Fly! I will be your missing eye and you will be my wings’), of missing eye and you will be my wings’), of moral dilemmas (fear, jealousy, loyalty, moral dilemmas (fear, jealousy, loyalty, possessiveness).possessiveness).

Moral awareness of the Moral awareness of the ‘other’‘other’

Language gives Language gives shape and shape and organisation to organisation to thoughtthought

Thinking is the Thinking is the most profound most profound aspect of literacyaspect of literacy

‘‘Thoughts impact Thoughts impact and subtly change and subtly change the self who thinks the self who thinks them’ Eliot them’ Eliot

‘‘I think therefore I I think therefore I am’ (Descartes)am’ (Descartes)

‘‘I am with others, I am with others, therefore I am’ therefore I am’ (Ubunto)(Ubunto)

Literature, thinking Literature, thinking and the literacy of and the literacy of the imagination the imagination

Critical literacyCritical literacy reading with a knowledge of language reading with a knowledge of language

and how it worksand how it works reading with a growing appreciation reading with a growing appreciation

of the many possible of the many possible contexts for textcontexts for text reading with an awareness of where reading with an awareness of where

the text positions a readerthe text positions a reader reading with a perception of the ideas reading with a perception of the ideas

and values and attitudes (and and values and attitudes (and motivations) that constitute the motivations) that constitute the implicit framework of the text and out implicit framework of the text and out of which texts are generatedof which texts are generated

Critical literacy includes Critical literacy includes visual literacyvisual literacy—reading and —reading and

understanding social understanding social signs—and signs—and cultural literacycultural literacy..

Cultural literacyCultural literacy knowledge of the world (cultural schemata)knowledge of the world (cultural schemata) knowledge, understanding, and appreciation of knowledge, understanding, and appreciation of

diverse ways of beingdiverse ways of being awareness of the enclosures of our own thinkingawareness of the enclosures of our own thinking openness to different ways of doing things, openness to different ways of doing things,

different sorts of formats, different ideas about different sorts of formats, different ideas about beginnings and endings, different ideas even beginnings and endings, different ideas even about what language should be, and different about what language should be, and different ideas about literacy ideas about literacy

Critical literacyCritical literacy ‘‘Knowing’ readers and writers Knowing’ readers and writers

(access to purposeful models), (access to purposeful models), and speakers (exposure to the and speakers (exposure to the speaking of others beyond speaking of others beyond their immediate world and also their immediate world and also classroom response), and classroom response), and listeners (listening with both listeners (listening with both ‘inner’ and ‘outer’ ears: ‘inner’ and ‘outer’ ears: listeninglistening is more than hearing is more than hearing).).

DefinitionsDefinitions Visual literacy pertains to an idea of Visual literacy pertains to an idea of

language, inspired by an age of visual language, inspired by an age of visual communicative modes (film, television, communicative modes (film, television, DVD, video and then digital cameras, DVD, video and then digital cameras, computer screens and interfaces, mobile computer screens and interfaces, mobile technologies) that use other marks and technologies) that use other marks and signs, very often alongside the signs, very often alongside the conventional marks and signs that are the conventional marks and signs that are the letters of the alphabet, to communicate letters of the alphabet, to communicate story, to describe character, to convey story, to describe character, to convey movement, to indicate time and place, to movement, to indicate time and place, to give shape to an abstraction, to outline a give shape to an abstraction, to outline a plan, to develop a thesis, to explain an plan, to develop a thesis, to explain an idea. idea.

Changing ideas of ‘text’ and Changing ideas of ‘text’ and ‘language’ ‘language’

Two minor revolutions: Two minor revolutions: 1)1) ‘‘text’ has been expanded to include text’ has been expanded to include

any communication involving any communication involving languagelanguage

2)2) ‘‘language’ has expanded to include language’ has expanded to include anything that is communicative: anything that is communicative: graphics and illustrations, images graphics and illustrations, images and moving images, in all sorts of and moving images, in all sorts of combinations and often including combinations and often including audio. (Some stress the centrality of audio. (Some stress the centrality of the image, rather than the centrality the image, rather than the centrality of writing, in the communication of writing, in the communication process).process).

FocalisationFocalisation

the way we see things and the way we the way we see things and the way we hear thingshear things

authors may write from the authors may write from the perspectives and ideas of a particular perspectives and ideas of a particular character, or from the position of character, or from the position of omniscient (all-knowing) narratoromniscient (all-knowing) narrator

illustrators shows us how things illustrators shows us how things appear from a particular angle. appear from a particular angle.

whose eyes, whose ears?whose eyes, whose ears? relationship to agencyrelationship to agency

Critical literacyCritical literacy reading (seeing) assumptions and attitudes hiding reading (seeing) assumptions and attitudes hiding

in unexpected places in unexpected places Eg. Robinson CrusoeEg. Robinson Crusoe (Daniel Defoe), (Daniel Defoe), The Wind in The Wind in

the Willowsthe Willows (Kenneth Grahame) (Kenneth Grahame) - assumptions that indigenous people - assumptions that indigenous people

need to be ‘civilised’need to be ‘civilised’ - assumptions that the wilderness needs - assumptions that the wilderness needs

to be tamed and frontiers of civilisation extendedto be tamed and frontiers of civilisation extended - the historical context of patriotic - the historical context of patriotic

conquestconquest - the importance of power and empire- the importance of power and empire - class structure- class structure

  

Window, Island in My Garden, Paddock, Window, Island in My Garden, Paddock, The Story of Rosy Dock, The Hidden The Story of Rosy Dock, The Hidden Forest, As I Grew Older, Enora and the Forest, As I Grew Older, Enora and the Black Crane, The Burnt Stick,Black Crane, The Burnt Stick, V is for V is for Vanishing, Way Home, The Rabbits, The Vanishing, Way Home, The Rabbits, The Red TreeRed Tree. .

- cultural assumptions that the - cultural assumptions that the wilderness must be protected against the wilderness must be protected against the onset of civilisationonset of civilisation

- the significance of the natural - the significance of the natural environment in sustainable futuresenvironment in sustainable futures

- equal rights of indigenous - equal rights of indigenous peoples to maintain their culture. peoples to maintain their culture.

Reader responseReader response

We can also examine any text We can also examine any text through a lens that helps us to through a lens that helps us to understand how we are reading it, understand how we are reading it, what attitudes we are bringing to what attitudes we are bringing to our reading, and how this may our reading, and how this may influence our reaction to characters influence our reaction to characters and story.and story.

Reading is a visual literacy.Reading is a visual literacy.

SubjectivitySubjectivity sense of sense of ‘I’ness‘I’ness in a world of others in a world of others

who are also ‘I’swho are also ‘I’s psychoanalytical term pertaining to psychoanalytical term pertaining to

significance of sense of self, of being significance of sense of self, of being an ‘I’ who is separate and individual an ‘I’ who is separate and individual from all the other ‘I’s in the world. from all the other ‘I’s in the world.

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Wild Girl, Wild BoyWild Girl, Wild Boy by David by David AlmondAlmond

ELAINEELAINE Wild … Girl… Wild … Boy … Wild … Girl… Wild … Boy …

That’s the title. That’s the title.That’s the title. That’s the title.

Once … there …was … a … girl … called … Once … there …was … a … girl … called … Elaine …Elaine …

Ah. Yes. Phew. That’s the start …Ah. Yes. Phew. That’s the start …

She … lived …with … She … lived …with … She holds up the paper She holds up the paper and looks at her wordsand looks at her words. .

ELAINEELAINE Look at it! Look at it! I’m so stupid. Look at it! Look at it! I’m so stupid. No, I’m not! I have problems … writing.No, I’m not! I have problems … writing.

Something to do with the way I … see Something to do with the way I … see or something.or something.

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THE CHORUS OF VOICESTHE CHORUS OF VOICES- Have you seen the way she just stares out the - Have you seen the way she just stares out the window with her gob hanging open?window with her gob hanging open?-       -         Like she’s catching flies.  Like she’s catching flies.       Like a little kid.Like a little kid.-  -         Like a baby       Like a baby.. -       -         And the state of   And the state of her books?her books?-     -             Like a spider’s crawled over them.Like a spider’s crawled over them.-         -         Like somebody’s chucked spaghetti on them.Like somebody’s chucked spaghetti on them.                Hey, Elaine, has somebody chucked spaghetti Hey, Elaine, has somebody chucked spaghetti on your books?on your books?-     -         No, that’s her writing, man!No, that’s her writing, man!-  -       Now leave Elaine alone. Oh dear, Elaine. We’re      Now leave Elaine alone. Oh dear, Elaine. We’re going to have going to have to do better than that, aren’t we?to do better than that, aren’t we?-       -       Concentrate, girl!Concentrate, girl! --Keep your mind on Keep your mind on your work.your work.-   -       Elaine has severe difficulty in maintaining     Elaine has severe difficulty in maintaining concentration on the task in hand.concentration on the task in hand.

The Power of Words –Poetic The Power of Words –Poetic ImagesImages

The woods are lovely, dark and deep,The woods are lovely, dark and deep, And I have promises to keep, And I have promises to keep, And miles to go before I sleepAnd miles to go before I sleep And miles to go before I sleepAnd miles to go before I sleep Stopping by Woods on A Stopping by Woods on A

Snowy Evening Snowy Evening (Robert Frost) (Robert Frost)

Give me my Romeo, and when I shall dieGive me my Romeo, and when I shall die Take him and cut him out in little stars,Take him and cut him out in little stars, And he will make the face of heaven so fineAnd he will make the face of heaven so fine That all the world will be in love with nightThat all the world will be in love with night And pay no worship to the garish sun. And pay no worship to the garish sun. (Act 3, scene (Act 3, scene

ii)ii)

The Fisherman and the The Fisherman and the TheefysprayTheefyspray

by Paul Jennings and Jane Tannerby Paul Jennings and Jane Tanner

Deep in the still cold shadows the Deep in the still cold shadows the lastlast

Theefyspray looked out of her lonely Theefyspray looked out of her lonely lair.lair.

There was not one other like her There was not one other like her now. Not in the heavens. Or the hills.now. Not in the heavens. Or the hills.

Or the deeps of the hushed green Or the deeps of the hushed green sea.sea.

The Power of WordsThe Power of WordsSocial Issues and AdvocacySocial Issues and Advocacy

Words have creative powerWords have creative power Words build powerful STORYWords build powerful STORY Words – organised into narratives both Words – organised into narratives both

oral and written – have changed the oral and written – have changed the worldworld

Speeches of Churchill, Martin Luther Speeches of Churchill, Martin Luther King, J. F. KennedyKing, J. F. Kennedy

Political documents: declarations of Political documents: declarations of rights rights

Indigenous writing, black American Indigenous writing, black American writing, women’s writingwriting, women’s writing

Cassius to Brutus in Shakespeare’s Cassius to Brutus in Shakespeare’s Julius CaesarJulius Caesar Know you how much the people may be Know you how much the people may be

movedmoved By that which he will utter? By that which he will utter?

Literature as persuasive communicationLiterature as persuasive communication

against the social issue of slaveryagainst the social issue of slavery Harriet Beecher Stowe, Harriet Beecher Stowe, Uncle Tom’s CabinUncle Tom’s Cabin, ,

against unjust social systemsagainst unjust social systems Waris Dirie, Waris Dirie, Desert Flower Desert Flower

against disadvantage and exploitationagainst disadvantage and exploitation Charles Dickens, Charles Dickens, Oliver TwistOliver Twist

Literature and social Literature and social issues issues Homeless children (compare to Dickens)Homeless children (compare to Dickens)

Way HomeWay Home (Hathorn and Rogers) (Hathorn and Rogers) Story, character, voice, Story, character, voice,

images, themes of an uncaring cityimages, themes of an uncaring city Boat childrenBoat children Onion Tears Onion Tears (Diana Kidd)(Diana Kidd) Only the HeartOnly the Heart (Brian Caswell (Brian Caswell

and David Phu an Chiem)and David Phu an Chiem) Boy OverboardBoy Overboard (Morris (Morris

Gleitzman)Gleitzman)

Onion TearsOnion Tears by Diana Kidd (1989), Story of the by Diana Kidd (1989), Story of the Vietnamese child, Nam-Huong.Vietnamese child, Nam-Huong.

It was just a little boat with hundreds of It was just a little boat with hundreds of people in it with scared eyes and sad eyes people in it with scared eyes and sad eyes and eyes drowned in tears – and Grandpa and eyes drowned in tears – and Grandpa and me. Grandpa was squashed up close to and me. Grandpa was squashed up close to me and he held my hand and put his arm me and he held my hand and put his arm around me when the waves leapt at us around me when the waves leapt at us across the deck like snarling tigers.across the deck like snarling tigers.

Sometimes, when we were too wet and cold Sometimes, when we were too wet and cold to sleep, Grandpa told me stories for hours to sleep, Grandpa told me stories for hours and hours until his voice got lost in the wind and hours until his voice got lost in the wind and the waves …and the waves …

……[O]ne day I opened my eyes, there was [O]ne day I opened my eyes, there was only the sea screaming around us.only the sea screaming around us.

And Grandpa’s hand was limp in mine.And Grandpa’s hand was limp in mine.

And for a moment I was on the boat And for a moment I was on the boat again, and the water was gold around again, and the water was gold around the silent bodies I saw floating there – the silent bodies I saw floating there – floating on the saffron sea, staring at floating on the saffron sea, staring at the saffron sun – and I saw my the saffron sun – and I saw my Grandpa there, silently floating away.Grandpa there, silently floating away.

‘‘GRANDPA! GRANDPA!’ I screamed …GRANDPA! GRANDPA!’ I screamed … And all the world was crying – even And all the world was crying – even

the wind and the waves and the gulls the wind and the waves and the gulls that circled above him.that circled above him.

(Diana Kidd, (Diana Kidd, Onion TearsOnion Tears 1989) 1989)

(Brian Caswell and David Phu (Brian Caswell and David Phu an Chiem, an Chiem, Only the HeartOnly the Heart 1997) 1997)

Then she lays the open knife on the bed next to him Then she lays the open knife on the bed next to him and moves across to the mirror, smearing a last and moves across to the mirror, smearing a last message in blood across the glass, and without message in blood across the glass, and without looking back she walks from the cabin.looking back she walks from the cabin.

At the railing she pauses for just a moment to look At the railing she pauses for just a moment to look out across the sea. It is calm. Green-blue and out across the sea. It is calm. Green-blue and patient. And welcoming, as she opens her arms to it, patient. And welcoming, as she opens her arms to it, and plunges from the deck in a graceful arching dive and plunges from the deck in a graceful arching dive ……

The sea is calm – as calm as such a creature can ever The sea is calm – as calm as such a creature can ever be – and she rides on its back, lulled by the be – and she rides on its back, lulled by the movement of the swell, unaware of the exact moment movement of the swell, unaware of the exact moment when the waves close over her. Aware only of the when the waves close over her. Aware only of the silence and the way the sky looks green and suddenly silence and the way the sky looks green and suddenly far away. She is weightless. She is free.far away. She is weightless. She is free.

She is smiling as she opens herself to the waters and She is smiling as she opens herself to the waters and breathes in eternity.breathes in eternity.

EnvironmentalismEnvironmentalism

A long tradition of artistic ‘greenies’A long tradition of artistic ‘greenies’ Picture books – with their unique Picture books – with their unique

combination/synergy of verbal and combination/synergy of verbal and visual – are ideally suited to urging visual – are ideally suited to urging an ideological stance of an ideological stance of environmentalismenvironmentalism

Change in images of ‘the wild’, ‘the Change in images of ‘the wild’, ‘the beast’ beast’

Jeannie Baker’s Jeannie Baker’s oeuvreoeuvre

HistoryHistory

Books written in a present about Books written in a present about a pasta past

History is always reconstructed, History is always reconstructed, organised, mediatedorganised, mediated

Such organisation will reflect Such organisation will reflect contemporary ideas, issues and contemporary ideas, issues and concernsconcerns

My PlaceMy Place (Wheatley and Rawlins (Wheatley and Rawlins 1988)1988)

Indigenous cultures have traditionally Indigenous cultures have traditionally passed on knowledge, wisdom, and passed on knowledge, wisdom, and life-learning through telling stories life-learning through telling stories and describing ecologies and and describing ecologies and genealogies not only in the language genealogies not only in the language of words, but in the languages of rock of words, but in the languages of rock art and body painting, singing and art and body painting, singing and songlines and song cycles, drama and songlines and song cycles, drama and dance. These are dance. These are story artsstory arts, , multimodal communications.multimodal communications.

Two-way learningTwo-way learning The Papunya School Book of Country and HistoryThe Papunya School Book of Country and History, ,

produced by the children and staff of Papunya produced by the children and staff of Papunya School, in Central Australia: ‘At Papunya School, in Central Australia: ‘At Papunya School, School, ngurrangurra – country – is at the centre of – country – is at the centre of our learning. It is part of everything we need our learning. It is part of everything we need to know …. But as well as learning in this to know …. But as well as learning in this traditional way, we can also find out about our traditional way, we can also find out about our country and our history by putting some of the country and our history by putting some of the pieces of the story into a book.’ pieces of the story into a book.’

TjulkuraTjulkura and and Anangu Anangu teachers work together, teachers work together, using totemic honey ant imagery to connect using totemic honey ant imagery to connect the two knowledge systems: ‘We want to see the two knowledge systems: ‘We want to see the children learning both ways and coming the children learning both ways and coming out bright orange and yellow together, like out bright orange and yellow together, like honey ants.’ (45) honey ants.’ (45)

FANTASYFANTASY Ideas of time: time shift, fictional futuresIdeas of time: time shift, fictional futures Ideas of alternative worlds (Ideas of alternative worlds (The Lord of The Lord of

the Ringsthe Rings, by Tolkien) , by Tolkien) Projections, predictions and warnings Projections, predictions and warnings Primary and secondary worlds (Primary and secondary worlds (NarniaNarnia

series, by C.S Lewis)series, by C.S Lewis) Themes of good versus evilThemes of good versus evil Like history, fantasy may relate to Like history, fantasy may relate to

ideological concerns of the presentideological concerns of the present The magic thresholdThe magic threshold

Harry Potter and the Order of Harry Potter and the Order of the Phoenixthe Phoenix

Didactic impulse is to represent power of good Didactic impulse is to represent power of good and the very real insidious and seductive power and the very real insidious and seductive power of evilof evil

The power of relationships to transform lives The power of relationships to transform lives (Dedication to family who ‘make my world (Dedication to family who ‘make my world magical’)magical’)

The power of imaginationThe power of imagination The potential of the extraordinary in the The potential of the extraordinary in the

everydayeveryday The battle for minds, to control thoughts of The battle for minds, to control thoughts of

others; capacity of Dark Lord to invade others; capacity of Dark Lord to invade thoughtsthoughts

The rapid escalation of a climate of suspicion The rapid escalation of a climate of suspicion and repression of ideological differenceand repression of ideological difference

The seduction of power The seduction of power

Ideas about death: ‘a tattered Ideas about death: ‘a tattered black curtain or veil,’ ‘someone black curtain or veil,’ ‘someone standing behind’ standing behind’

Ideas about brains, thoughts, Ideas about brains, thoughts, TimeTime

‘‘The mind is a complex and The mind is a complex and many-layered thing’many-layered thing’

The redemptive power of love, The redemptive power of love, sacrifice and blood (p.736)sacrifice and blood (p.736)

Symbol of phoenix = Symbol of phoenix = resurrection and rebirth resurrection and rebirth (Clement of Rome)(Clement of Rome)

‘‘You see, your daemon’s a wonderful friend You see, your daemon’s a wonderful friend and companion when you’re young, but at and companion when you’re young, but at the age we call puberty, the age you’re the age we call puberty, the age you’re coming to very soon, darling, daemons bring coming to very soon, darling, daemons bring all sort of troublesome thoughts and all sort of troublesome thoughts and feelings, and that’s what lets Dust in. A feelings, and that’s what lets Dust in. A quick little operation before that, and you’re quick little operation before that, and you’re never troubled again. And your daemon never troubled again. And your daemon stays with you, only … just not connected. stays with you, only … just not connected. Like a … like a wonderful pet, if you like. Like a … like a wonderful pet, if you like. The best pet in the world! Wouldn’t you like The best pet in the world! Wouldn’t you like that?’that?’

Oh, the wicked liar, oh, the shameless Oh, the wicked liar, oh, the shameless untruths she was telling. And even if Lyra untruths she was telling. And even if Lyra hadn’t known them to be lies … she would hadn’t known them to be lies … she would have hated it with a furious passion. Her have hated it with a furious passion. Her dear soul, the darling companion of her dear soul, the darling companion of her heart, to be cut away and reduced to a little heart, to be cut away and reduced to a little trotting trotting petpet? (Pullman 284-285)? (Pullman 284-285)