web dubouis and double consciousness - the way the kids reacted to their story being told on the screen.
looking for the logic in their stories. (should be in maloch stuff) probably michaels or cazden.
Have to find narrative forms of analysis!!! Or not. narrative does not seem to be what's going on here except in their stories.
http://qualitativeresearch.ratcliffs.net/15methods.pdf
Saturday, December 27, 2008
Sunday, December 21, 2008
balance scale
you see it's like a balance scale. Either there's too much influence from the technology or there's very little. And when you think about the most together stories... like bryce's fun little things... it's a combination of both.
But deseree was a master as well.
But deseree was a master as well.
Tuesday, December 16, 2008
looking into stories.
okay... i've been trying to look into stories. i have found a few things I think I can build upon.
here's a nice line:
African-American composition theory is based on these assumptions:
1. Form and content or inextricably bound.
2. Black discourse is an academic discourse in constant flux, in negotiation with other discourses including the dominant discourse
3. Contrastive analysis of AAVE syntax and discourse against standardized syntax and discourse will result in students’ improved critical language facilities
4. Increased historical and cultural self consciousness and critical awareness can be realized in writing and discourse showing Black discourse features.
African American Literacies
Elaine Richardson
Routledge, London and NY
Black discourse was operationalized as smaller units of expression including: rhythmic dramatic evocative language, references to color–race–ethnicity, use of proverbs, aphorisms, biblical verses, sermonic tone, direct address-conversational tone, cultural references, ethnolinguistic idioms, verbal inventiveness, cultural values/community consciousness, field dependency, narrative sequencing, tonal semantics, signifying, structural call-response and testifying. (Examples of each are given in the more detailed methodology in note 1 to this chapter.)(p. 100)
Black discourse was operationalized as smaller units of expression including: rhythmic dramatic evocative language, references to color–race–ethnicity, use of proverbs, aphorisms, biblical verses, sermonic tone, direct address-conversational tone, cultural references, ethnolinguistic idioms, verbal inventiveness, cultural values/community consciousness, field dependency, narrative sequencing, tonal semantics, signifying, structural call-response and testifying. (101)
Rhythmic, dramatic, evocative language. Use of metaphors, significations, vivid imagery. Example: “Our history through the eyes of white America after it has been cut, massacured and censored is pushed down blacks throath.”
2. Proverbs, aphorisms, biblical verses. Employment of familiar maxims or biblical verses. Example: “there is a time and place for everything.”
3. Sermonic tone reminiscent of traditional Black Church rhetoric, especially in vocabulary, imagery, metaphor. Example: “The man should once again be the leader of the household as God intended and the female … the helpmate.”
4. Direct address, conversational tone. These two are not necessarily the same, but often co-occur. Speaking directly to audience—also, can be a kind of call/response. Example: ‘‘Would you rather be respected as Aunt Jemima and Sambo or Queen Nzinga? As yourself or someone else?”
5. Cultural references. Reference to cultural items/icons which usually carry symbolic meaning in the AAVE communities. Example: “There are still those Uncle Toms … out to get you.”
6. Ethnolinguistic idioms. Use of language which bears particular meaning in Black community. Example: “Black English is a ‘Black Thang’ you wouldn’t understand … That’s on the real!”.
7. Verbal inventiveness, unique nomenclature. Example: “[W]e will begin dealing with this deep seeded self-destruction and self-hate.”
8. Cultural values—community consciousness. Expressions of concern for the development of African Americans; concern for welfare of entire community, not just individuals. Example: “Before Blacks can come together in racial harmony they need to strengthen their own people. Trying to unite … will only cause more problems if we have not taken care of our own business.”
9. Field dependency. Involvement with and immersion in events and situations; personalizing phenomenon; lack of distance from topics and subjects. Example: “[w]e should first try to accomplish better race matters within ourselves. We can do this by patronizing and supporting our Black community.’’
10. Narrative sequencing. Dramatic retelling of a story implicitly linked to topic, to make a point. Reporting of events dramatically acted out and narrated. Relating the facts and personal socio-psychological perspective on them. Example: “I have learned … some things that never crossed my path in thirteen years of miseducation … This was very important for me because I … felt that [my] writing was wrong and far beyond improving.”
11. Tonal semantics (repetition of sounds or structures to emphasize meaning). Example: “European views are the rules,” “We are victimized …” [structure repeated four times in subsequent sentences].
2. Signifying—use of indirection to make points. May employ oppositional logic, overstatement, understatement—and/or reliance on reader’s knowledge of implicit assumption that is taken to be common knowledge (shared world view). Example: “In light of having limited means of getting first hand information we then have had to rely on books and the media to provide us with an unbiased account of information … we know how honest the media is.”
13. Call/response (structural)—writer returns repetitiously to the prompt as a structural device—checking for constant connection with the question or text at hand. A repeated invocation of the language from the prompt, manifesting as a refrain. Example: “to be a member of the AAVE Culture and literate,” “Black and literate,” “Blacks being literate” (repeated four times).
14. Testifying—telling the truth through story—bearing witness to the righteousness of a condition or situation. Example: “I use [the works of Angelou and Douglass] to liberate myself from my hardships to come.”
9155-156)
here's a nice line:
African-American composition theory is based on these assumptions:
1. Form and content or inextricably bound.
2. Black discourse is an academic discourse in constant flux, in negotiation with other discourses including the dominant discourse
3. Contrastive analysis of AAVE syntax and discourse against standardized syntax and discourse will result in students’ improved critical language facilities
4. Increased historical and cultural self consciousness and critical awareness can be realized in writing and discourse showing Black discourse features.
African American Literacies
Elaine Richardson
Routledge, London and NY
Black discourse was operationalized as smaller units of expression including: rhythmic dramatic evocative language, references to color–race–ethnicity, use of proverbs, aphorisms, biblical verses, sermonic tone, direct address-conversational tone, cultural references, ethnolinguistic idioms, verbal inventiveness, cultural values/community consciousness, field dependency, narrative sequencing, tonal semantics, signifying, structural call-response and testifying. (Examples of each are given in the more detailed methodology in note 1 to this chapter.)(p. 100)
Black discourse was operationalized as smaller units of expression including: rhythmic dramatic evocative language, references to color–race–ethnicity, use of proverbs, aphorisms, biblical verses, sermonic tone, direct address-conversational tone, cultural references, ethnolinguistic idioms, verbal inventiveness, cultural values/community consciousness, field dependency, narrative sequencing, tonal semantics, signifying, structural call-response and testifying. (101)
Rhythmic, dramatic, evocative language. Use of metaphors, significations, vivid imagery. Example: “Our history through the eyes of white America after it has been cut, massacured and censored is pushed down blacks throath.”
2. Proverbs, aphorisms, biblical verses. Employment of familiar maxims or biblical verses. Example: “there is a time and place for everything.”
3. Sermonic tone reminiscent of traditional Black Church rhetoric, especially in vocabulary, imagery, metaphor. Example: “The man should once again be the leader of the household as God intended and the female … the helpmate.”
4. Direct address, conversational tone. These two are not necessarily the same, but often co-occur. Speaking directly to audience—also, can be a kind of call/response. Example: ‘‘Would you rather be respected as Aunt Jemima and Sambo or Queen Nzinga? As yourself or someone else?”
5. Cultural references. Reference to cultural items/icons which usually carry symbolic meaning in the AAVE communities. Example: “There are still those Uncle Toms … out to get you.”
6. Ethnolinguistic idioms. Use of language which bears particular meaning in Black community. Example: “Black English is a ‘Black Thang’ you wouldn’t understand … That’s on the real!”.
7. Verbal inventiveness, unique nomenclature. Example: “[W]e will begin dealing with this deep seeded self-destruction and self-hate.”
8. Cultural values—community consciousness. Expressions of concern for the development of African Americans; concern for welfare of entire community, not just individuals. Example: “Before Blacks can come together in racial harmony they need to strengthen their own people. Trying to unite … will only cause more problems if we have not taken care of our own business.”
9. Field dependency. Involvement with and immersion in events and situations; personalizing phenomenon; lack of distance from topics and subjects. Example: “[w]e should first try to accomplish better race matters within ourselves. We can do this by patronizing and supporting our Black community.’’
10. Narrative sequencing. Dramatic retelling of a story implicitly linked to topic, to make a point. Reporting of events dramatically acted out and narrated. Relating the facts and personal socio-psychological perspective on them. Example: “I have learned … some things that never crossed my path in thirteen years of miseducation … This was very important for me because I … felt that [my] writing was wrong and far beyond improving.”
11. Tonal semantics (repetition of sounds or structures to emphasize meaning). Example: “European views are the rules,” “We are victimized …” [structure repeated four times in subsequent sentences].
2. Signifying—use of indirection to make points. May employ oppositional logic, overstatement, understatement—and/or reliance on reader’s knowledge of implicit assumption that is taken to be common knowledge (shared world view). Example: “In light of having limited means of getting first hand information we then have had to rely on books and the media to provide us with an unbiased account of information … we know how honest the media is.”
13. Call/response (structural)—writer returns repetitiously to the prompt as a structural device—checking for constant connection with the question or text at hand. A repeated invocation of the language from the prompt, manifesting as a refrain. Example: “to be a member of the AAVE Culture and literate,” “Black and literate,” “Blacks being literate” (repeated four times).
14. Testifying—telling the truth through story—bearing witness to the righteousness of a condition or situation. Example: “I use [the works of Angelou and Douglass] to liberate myself from my hardships to come.”
9155-156)
Sunday, December 7, 2008
An important thought
Dr. M. asked me why I thought these kids struggled to tell stories.
Well 1, I was judging what "story" was to me, not to these first graders.
And, I also see that these kids were in a school context so were telling stories in what they knew about school contexts. The most successful student in the most restrictive writing class wrote the most descriptive stories.
I was thinking there was some correlation to the stories particularly from the beginning to kids who were best able to conform fit in, most successful in school to those who "described"
Michael and Chosen were not deemed very successful in school. I need to make this chart.
Well 1, I was judging what "story" was to me, not to these first graders.
And, I also see that these kids were in a school context so were telling stories in what they knew about school contexts. The most successful student in the most restrictive writing class wrote the most descriptive stories.
I was thinking there was some correlation to the stories particularly from the beginning to kids who were best able to conform fit in, most successful in school to those who "described"
Michael and Chosen were not deemed very successful in school. I need to make this chart.
Monday, November 17, 2008
Bryce's 2nd Story analysis and some thoughts I want to get down
This is Bryce's second story. Here you can see he is not drawing, he is manipulating the available shapes in the computer program to create different monsters. I would consider this a Describing Story. That is, he created some characters on the screen, and then used the audio portion of his story to describe them. He described what their bodies looked like, labeling the last one an Alien Dog. Of course this is more sophisticated than what we'll see Trace do later... just describing the stamps he's lined up on the page. But still, I think there's a connection to the stories. This is more like Deseree's first story where she talks about what she drew. Bur because of the title here, I'd again rank it a little more story than Trace's work.
Notice the background. Background is Bryce's Anchor. I notice that pretty much all of them... with no prompting from me included some sort of setting. I'd say only Michael and his money were the only characters without time spent on background.
Bryce means for you not to just look at the shapes even though he's describing their parts. He wants you to see aliens here.
-------------------------------------
Character Driven Stories...
character, set in a background, show action, movement over time. These I consider traditional stories.
Descriptive Stories
computer artwork featured... a show and tell with a narrative feel.
----------------------------------------
I think the fatalism in some of these stories (not shown by bryce, the sci fi guy) is cultural. Can I write Smitherman on this? Hah hah.
I'm trying to make connections to Labbo's work on different stances toward the computer which I think are there. Like for some the computer is a place to draw a story, but the story is not inherently digital. So in these cases the storyteller is in control.
Then some stories are purely digital... like Trace just describing what he's put together. And I think a little bit of Jaidyn's last story, though with her her audio adds too much personality to actually be purely digital.
And some stories are hybrid... like I think this one is. sure it's about what was created digitally... but it's also about Bryce's aliens. It is absolutely clear in his third movie.
Notice the background. Background is Bryce's Anchor. I notice that pretty much all of them... with no prompting from me included some sort of setting. I'd say only Michael and his money were the only characters without time spent on background.
Bryce means for you not to just look at the shapes even though he's describing their parts. He wants you to see aliens here.
-------------------------------------
Character Driven Stories...
character, set in a background, show action, movement over time. These I consider traditional stories.
Descriptive Stories
computer artwork featured... a show and tell with a narrative feel.
----------------------------------------
I think the fatalism in some of these stories (not shown by bryce, the sci fi guy) is cultural. Can I write Smitherman on this? Hah hah.
I'm trying to make connections to Labbo's work on different stances toward the computer which I think are there. Like for some the computer is a place to draw a story, but the story is not inherently digital. So in these cases the storyteller is in control.
Then some stories are purely digital... like Trace just describing what he's put together. And I think a little bit of Jaidyn's last story, though with her her audio adds too much personality to actually be purely digital.
And some stories are hybrid... like I think this one is. sure it's about what was created digitally... but it's also about Bryce's aliens. It is absolutely clear in his third movie.
Sunday, November 16, 2008
Tuesday, November 11, 2008
Bryce Story Analysis
I think Bryce had been waiting his whole life to tell this story. According to talks with his teacher, he is a very quiet boy that hardly says anything in class either prompted or otherwise. So you can just imagine that the reason he is so quiet is that all these sci fi stories are floating around in his head.
I consider this a traditional story character, plot movement, appropriate ending. This one is different from the others because it is easily fit into a genre of writing.
An interesting thing about Bryce's work here is that .. .well one thing is that he does have an anchor... like Trace it is the "background." But this story was born and floated in his mind well before he got to the technology. Instead of drawing (and this is something he did through out his work) he manipulated the different shapes he could make with the software (and also the pattern fill on the paint can for the backgrounds.
But he definitely... in this story shaped the digital world on his screen to fit what he wanted the story to be. He made a rhombus looking shape to be the thunder horn or sword or whatever it is.
My role? I helped him record and i saved and placed the pictures he drew in photostory.
Visually this story was not interesting because he talked for so long the story didn't "move."
Would this story have come out of his mind if not for this opportunity? I don't think so. His teacher didn't necessarily have him writing a whole lot of choice writing. She did come to me after the project started with a paper he'd written about an alien that was quite clever and she was amazed at the peek she got into the mind of this quiet boy. Heh.
I consider this a traditional story character, plot movement, appropriate ending. This one is different from the others because it is easily fit into a genre of writing.
An interesting thing about Bryce's work here is that .. .well one thing is that he does have an anchor... like Trace it is the "background." But this story was born and floated in his mind well before he got to the technology. Instead of drawing (and this is something he did through out his work) he manipulated the different shapes he could make with the software (and also the pattern fill on the paint can for the backgrounds.
But he definitely... in this story shaped the digital world on his screen to fit what he wanted the story to be. He made a rhombus looking shape to be the thunder horn or sword or whatever it is.
My role? I helped him record and i saved and placed the pictures he drew in photostory.
Visually this story was not interesting because he talked for so long the story didn't "move."
Would this story have come out of his mind if not for this opportunity? I don't think so. His teacher didn't necessarily have him writing a whole lot of choice writing. She did come to me after the project started with a paper he'd written about an alien that was quite clever and she was amazed at the peek she got into the mind of this quiet boy. Heh.
Michael 3rd story analysis
The money continues! This was a very independent effort. Unlike the 2nd story, Michael did not ask for help to do anything with this. What is interesting to me is the very distinct style of each student artist. I love the people Michael draws. I wonder if he draws them like this in his regular writing. Perhaps I need to scan his writing and see.
I consider this a traditional story... characters, plot movement.
Characters: has moved on from family. Here's a "man" who faces a violent end. These kids find violence interesting/funny/entertaining. Okay you say that's a typical little boy thing and that's true. But the girls did it too. (Arianna and Deseree)
This one, like most of the third stories, were recorded independently. That is, on the first ones I recorded for them, but on this one they did it on their own. Might explain the lilt toward violent deaths and blood!
I consider this a traditional story... characters, plot movement.
Characters: has moved on from family. Here's a "man" who faces a violent end. These kids find violence interesting/funny/entertaining. Okay you say that's a typical little boy thing and that's true. But the girls did it too. (Arianna and Deseree)
This one, like most of the third stories, were recorded independently. That is, on the first ones I recorded for them, but on this one they did it on their own. Might explain the lilt toward violent deaths and blood!
Michael's 2nd Story Analysis
Michael's Second Story is posted below. His anchor is the dollar bills. In this case he needed to change the size of the bill to fit what he wanted to say. I helped him do that. I remember when he had a copy/paste issue he wailed quite loudly. It was something I could fix, but I remember he was quite upset. Basically he meant to copy/paste his small size bill, but had accidentally pasted the whole picture which kinda messed things up for him.
Michael has a bill cosby voice!
Michael was freed in this story. He was having a good time. Of course he knew that they would share with the others by this time.
I consider this a traditional story. I mean there were characters and action. There was of course violence (actually a common trait across many of the stories) and there's the gorilla digression. But he seems to get back to an "end" before he finishes.
It is also an elaboration of his first story. Now his money is in a basket.
Characters: Family Mom/Dad/Sister
Movement: giving of dollars and punch to face and giving of gorilla, something about dad not winning?
Anchor: money
Michael has a bill cosby voice!
Michael was freed in this story. He was having a good time. Of course he knew that they would share with the others by this time.
I consider this a traditional story. I mean there were characters and action. There was of course violence (actually a common trait across many of the stories) and there's the gorilla digression. But he seems to get back to an "end" before he finishes.
It is also an elaboration of his first story. Now his money is in a basket.
Characters: Family Mom/Dad/Sister
Movement: giving of dollars and punch to face and giving of gorilla, something about dad not winning?
Anchor: money
Monday, November 10, 2008
Michael's First Analysis
This is a traditional math story problem. He didn't really get title page/other pages first.
I remember that Chosen started making the page of money first. And Michael wanted it to. They both had a page full of money. Michael shortened his for the title. I just asked him what the title was and he told me the 12 dollars thing, even though there are other bills in there. It would seem that he knows this too.
Was he making a pattern?
I have this, my mom has this. She has the same as me. There is movement in this "story." Sort of beginning middle end.
He speaks in the same stilted, careful form that Deseree did at first. That voice is only used by these students the first time.
I remember that Chosen started making the page of money first. And Michael wanted it to. They both had a page full of money. Michael shortened his for the title. I just asked him what the title was and he told me the 12 dollars thing, even though there are other bills in there. It would seem that he knows this too.
Was he making a pattern?
I have this, my mom has this. She has the same as me. There is movement in this "story." Sort of beginning middle end.
He speaks in the same stilted, careful form that Deseree did at first. That voice is only used by these students the first time.
Saturday, November 8, 2008
Description of picture drawn. I don't think this rises to the idea of the second one... that it is a story that she is talking about. I think this is a description of the picture she drew.
She says that this is her favorite one of all the stories she made because it's the most colorful one.
I think the key is... how did she leap from her first story to the second to the third...
And it seems that Bryce started there where picture/story/voice work as one. I guess Michael did too. So how did they get there?
She says that this is her favorite one of all the stories she made because it's the most colorful one.
I think the key is... how did she leap from her first story to the second to the third...
And it seems that Bryce started there where picture/story/voice work as one. I guess Michael did too. So how did they get there?
Desere's 2nd Story Commentary
ah! this is a describing story too! I just realized this. She is not telling the story, she's telling ABOUT the story. i think i get it. She has not processed that the story and the voice part go to gether... not till her last story! She wrote a story... and now she's describing her story vocally. She sees the digital process as two separate events.
I wonder what made her make the leap in that last story.
I might have messed her up with the words. She wanted them on each page, but I should have copied and pasted them separately... 1 star, 2 star, etc. Instead of all in one bunch.
Here too was seeking more from the the technology... a manipulation... she asked me to do the cutting and pasting. She was not limited by what she knew how to do. She merely asked for it to be done.
This is an attempt at a number/counting story that she has probably run into in her reading life. I think this was the only story that fit into a traditional genre. (except for Bryce and his scifi kinda stuff.}
Genres I think I have seen in these stories:
fatal realism - lots of life sux stories like Des' duck story below.
The description of the story
The description of how the technology was manipulated.
More traditional stories.
There is not a description of the picture. It's a description of the story she wrote.
I think stars/clouds are her anchor. The place she starts to get her juices going.
I wonder what made her make the leap in that last story.
I might have messed her up with the words. She wanted them on each page, but I should have copied and pasted them separately... 1 star, 2 star, etc. Instead of all in one bunch.
Here too was seeking more from the the technology... a manipulation... she asked me to do the cutting and pasting. She was not limited by what she knew how to do. She merely asked for it to be done.
This is an attempt at a number/counting story that she has probably run into in her reading life. I think this was the only story that fit into a traditional genre. (except for Bryce and his scifi kinda stuff.}
Genres I think I have seen in these stories:
fatal realism - lots of life sux stories like Des' duck story below.
The description of the story
The description of how the technology was manipulated.
More traditional stories.
There is not a description of the picture. It's a description of the story she wrote.
I think stars/clouds are her anchor. The place she starts to get her juices going.
Wednesday, November 5, 2008
Desere's 3rd Story Analysis
1. Use of text in the pictures.
2. Problems without solutions... sux to be you stories. You're walking along, minding your own business and then wham!
3. Particularly so with the driver running off laughing.
4. Duck characters (animals) But with a mother/baby structure.
4. Voice ... story acted out in the voice.
5. Characters, setting... street in the picture.
I would consider this story a more traditional linear tale. I still think the stories where crap happens is part of our african american church tradition. I mean I think we as a people are always aware of the chance of fate/God/Powers that be changing our happy little lives in an instance.
The cruelty of the driver is fascinating to me?
My role in this story? I don't think i had any. I was not even there when she recorded it, as I had helped in the past.
2. Problems without solutions... sux to be you stories. You're walking along, minding your own business and then wham!
3. Particularly so with the driver running off laughing.
4. Duck characters (animals) But with a mother/baby structure.
4. Voice ... story acted out in the voice.
5. Characters, setting... street in the picture.
I would consider this story a more traditional linear tale. I still think the stories where crap happens is part of our african american church tradition. I mean I think we as a people are always aware of the chance of fate/God/Powers that be changing our happy little lives in an instance.
The cruelty of the driver is fascinating to me?
My role in this story? I don't think i had any. I was not even there when she recorded it, as I had helped in the past.
Sunday, October 19, 2008
Third Author's Chair (tape)
But Part…
Covering mouth…
Michael during his pacing. Covering ears.
Yeah… take that out.
Pacing like a new daddy
Deseree same thing… fingers in her ears.
Grinning… rocking in chair (swivel chair.)
Jaidyn fingers in her ears.
Covering mouth…
Michael during his pacing. Covering ears.
Yeah… take that out.
Pacing like a new daddy
Deseree same thing… fingers in her ears.
Grinning… rocking in chair (swivel chair.)
Jaidyn fingers in her ears.
Looking at Questions
What types of stories did the students produce?
First I had to adjust my own definition of “story.” Previous research supports the idea that African American kids might have different ideas about what a story is. So while European American Children participating in a similar study all produced what I would consider linear, traditional types of stories, the African American students’ productions were more varied. There were describing stories where the students described what they had created on the screen. There were more traditional stories that had the familiar beginning, middle and end sequence. One student consistently produced texts that didn’t separate his story from his need to validate the worth of his story for his future audience.
When I considered what types of stories the students produced, I do see the old English lit class organizer: man versus himself, man versus man, and man versus nature. Man versus nature is particularly a strong them across many of the stories. I connect this to religious upbringing, though I don’t know where and how to confirm that. As an African American I recognize that life is not a certain and humans are subject to all sorts of wicked twists of fate, like lightning strikes and dead ducks killed thoughtlessly in the street.
One thing I did notice was that there aren’t any pop culture references featured in any of the stories the students produced. Since this is a hallmark of Dyson’s work with this very demographic, I find this interesting. Perhaps the newness of the Technology, or even for these kids, the newness of free story writing didn’t allow them to get to that imaginative stage. Now there was one little guy, who has a very active fantasy life which this study seems to brought out for the first time in school. He did use his Yug-i-oh card to help him tell his story. That is, when he recorded his story, he would talk and then he’d change his voice, and the Yug-i-oh card would then “speak.” Later, he can be seen on the video of the Computer Author’s Chair time waving the card so that the camera could pick it up.
Perhaps his characters, and decisions about what he’d do with his stories came from his culture-inspired imagination. He was the most sophisticate storyteller; not that he had more in school experiences, but that he was just a natural storyteller those stories were rolling around in head (probably why he was so quiet in class as his teacher reports) only spilling out at home (his mother reported that sometimes he “surprised” her with his stories.)
Regardless, I find it interesting that in this format, pop culture was not present.
What meanings and purposes did the stories serve for the children?
First I had to adjust my own definition of “story.” Previous research supports the idea that African American kids might have different ideas about what a story is. So while European American Children participating in a similar study all produced what I would consider linear, traditional types of stories, the African American students’ productions were more varied. There were describing stories where the students described what they had created on the screen. There were more traditional stories that had the familiar beginning, middle and end sequence. One student consistently produced texts that didn’t separate his story from his need to validate the worth of his story for his future audience.
When I considered what types of stories the students produced, I do see the old English lit class organizer: man versus himself, man versus man, and man versus nature. Man versus nature is particularly a strong them across many of the stories. I connect this to religious upbringing, though I don’t know where and how to confirm that. As an African American I recognize that life is not a certain and humans are subject to all sorts of wicked twists of fate, like lightning strikes and dead ducks killed thoughtlessly in the street.
One thing I did notice was that there aren’t any pop culture references featured in any of the stories the students produced. Since this is a hallmark of Dyson’s work with this very demographic, I find this interesting. Perhaps the newness of the Technology, or even for these kids, the newness of free story writing didn’t allow them to get to that imaginative stage. Now there was one little guy, who has a very active fantasy life which this study seems to brought out for the first time in school. He did use his Yug-i-oh card to help him tell his story. That is, when he recorded his story, he would talk and then he’d change his voice, and the Yug-i-oh card would then “speak.” Later, he can be seen on the video of the Computer Author’s Chair time waving the card so that the camera could pick it up.
Perhaps his characters, and decisions about what he’d do with his stories came from his culture-inspired imagination. He was the most sophisticate storyteller; not that he had more in school experiences, but that he was just a natural storyteller those stories were rolling around in head (probably why he was so quiet in class as his teacher reports) only spilling out at home (his mother reported that sometimes he “surprised” her with his stories.)
Regardless, I find it interesting that in this format, pop culture was not present.
What meanings and purposes did the stories serve for the children?
Friday, May 9, 2008
Wednesday, April 16, 2008
Friday, April 4, 2008
Friday, March 7, 2008
Thursday, February 28, 2008
Sunday, February 24, 2008
A Kerpoof Movie
I made this movie with Kerpoof. It can't be embeded so please click the picture to follow the link.
Thursday, February 21, 2008
Friday, February 8, 2008
The Dancing Man: A pattern block story!
I think I like this story the best of the ones I created. I wonder if kids will like making them too?
Monday, January 28, 2008
Friday, January 11, 2008
Wednesday, January 9, 2008
The Bear and the Dog
This is another example movie. The picture is pretty bad, and it's sorta meant to be that way. Plus I couldn't control how close my dog wanted to be at that particular moment. Remember these movies are about the stories and the voices! Anyway. I thought this was a pretty entertaining movie!
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