A week or so ago I was lucky enough to attend two wonderful
symposia in two days; the first was the UKLA/BERA
research symposium on Play,
Playfulness and Literacy at the Open University in Camden and the second
was the Cambridge-Homerton Research and
Teaching Centre for Children’s Literature international mini-symposium on Digital Literature for Children. Both
days were packed with presentations that drew on a variety of disciplines to
describe and analyse play, playfulness, literacy and learning in a world that is
increasingly digital.
In Cambridge
Dr. Celia Turrion (Universitat Autònoma de
Barcelona) kicked off the day by presenting some of the results from her PhD in
digital literature for children. Drawing on a variety of theoretical contexts
Celia demonstrated how they could be brought together to form a set of tools
that enabled researchers to critically evaluate digital picturebook apps (see
her article
Multimedia Book Apps in a Contemporary Culture). Reflecting on her experience of studying digital literature for children she
cautioned future candidates on the fast changing nature of the field and the
difficulties involved in constructing a corpus of texts that are either
constantly updated or simply rendered inaccessible by new operating systems.
Like the songs and games collected by the Iona and Peter Opie between 1969 and
1983 (
Opie Collection of Children's Games and Songs),
the current digital texts and practices of children are ephemeral and need to
be preserved through documentation and research. It is therefore crucial that we follow in the footsteps of
researchers like
Prof. Jackie Marsh (University of Sheffield) and
work to build up sensitive and detailed case studies of children’s current
digital and literacy practices. Talking in London, Jackie began by critically
examining definitions of play and literacy before drawing on results from a
European-wide study
Young Children (0-8) and Digital Technology to highlight the intergenerational and situated aspects of digi-play. Her
subsequent analysis of four-year-old Gareth’s playful activities at home (Dyson,
forthcoming) explored how he moved between online and offline activities by
focusing on his enthusiasm for EvanTube:
Instead of understanding Gareth’s watching of these videos
as vicarious consumption, Jackie pointed out that contrary to expectation the
data she gathered didn’t suggest that Gareth was watching EvanTube because he
desired the featured Lego products. Instead he seemed to engage as a ‘cyberflâneur’ (Goldate, 1997; Hartman, 2004), wandering through this online space guided by recommendations
and hyperlinks. She postulated that what he enjoyed about EvanTube was the
shared community of discourse built up around Lego products that extended into
his offline Lego play and reading as well as into the videos he uploaded onto
his YouTube channel.
This preoccupation with unpacking and analysing the nature
of the interaction between the child and the digital content was something that
a number of presenters in Cambridge picked up on. A number of talks by PhD
students at the beginning of their research focused on exploring different
theoretical lenses that could be brought to bear on this interaction. Aline Frederico (University of
Cambridge) offered a wonderful synthesis of how multimodal semiotic analysis
could be used to analyse digital picturebook apps and Yan Zheng (University of Glasgow) thought through how we might be
able to borrow terms from game studies.
Amy Nottingham-Martin
(University of Worcester) examined some of the benefits that might be gained
through employing performance theory when considering digital picturebook apps.
She proposed the term ‘rea-player’ (reader-player) as a way of opening up our
understanding of readership to include more playful behaviours. This was
something that Dr. Vivienne Smith
(University of Strathclyde) was also anxious about, asking her audience in
London to reflect on how dominant discourses in schools continually conceive of
reading as a necessary skill rather than a playful act. The idea of reading as
a playful and at times subversive act is something that is explored extensively
in children’s literature scholarship and it was interesting to see how Dr. Ghada Al-Yagout (PAAET, Kuwait) and
Sophie Clark (University of
Cambridge) began their separate talks by reiterating what we know about the
affordances of the picturebook form. Moving from an understanding of the
picturebook’s interactivity to a consideration of how digital picturebook apps
reduce or enlarge on this complexity enabled useful continuities to be traced.
However, one thing that Celia mentioned at the beginning of
the international mini-symposium in Cambridge was a warning against using the
term ‘digital picturebooks’ because it could lead to blinding researchers to
the possibilities available. One of the main topics during the roundtable discussion
at the end of the day was whether the term ‘app’ could be used instead or if it would be too permissive.
This question becomes especially important when we start to
think through the enormous cultural capital inherent in games and gaming, which
is what
Prof. Andrew Burn (Institute
of Education, UCL) did at the UKLA/BERA research symposium in London. His talk
transitioned smoothly between a discussion of playing and creating games in the
playground to playing and creating games on the computer. Andrew reflected on
how contemporary playground games continue to incorporate and revise media
sources, showing how children brought gaming aspects into their play by imposing
an imaginative overlay on the tarmac of their East London playground and thereby
transforming it into the desert landscapes of a first-person shooter game (
Children's Playground Games in the New Media Age).
He then went on to demonstrate how these
skills could be used within the classroom as a way into understanding story
plots and character motivation by drawing on a recent project called
Playing Shakespeare (2012) if children
were trusted with space and time to create their own playful responses.
However, this isn’t always easy and Andrew drew on Brian
Sutton-Smith’s (1997) rhetorics of play to show how play is always at once progressive
and risky. As a society we are continually made aware of the risky or dangerous
elements of gaming but perhaps we have conveniently forgotten that reading and
literature also has a long history of mistrust that continues to surface in
figures like that of Ginny Weasley and her dangerous reading of Tom Riddle’s
Diary (as opposed to Matilda’s healthy consumption of library books).
Dr. Clementine Beauvais (University of
Cambridge)
examines the two sides of
our fascination with children reading in her upcoming article for the
Cambridge Literary Review (CLR 8) and
suggests that our delights and anxieties stem from an inevitable lack of
control. If we’re serious about the importance of play and playfulness in
children’s (and adults?) literacy practices then maybe we need to be more
willing to loosen up the stranglehold on what ‘counts’ as literacy in schools
and on our screens.
“For a child a story naturally moves into drama and dance
and song and movement”
(David Almond)
And who are we to stop that?
Eve Tandoi
Labels: apps, cyberflâneur, digital picturebooks, play, playfulness, Symposium