Rethinking Social Studies and History Education : Social Education Through Alternative Texts [1 ed.] 9781681234991, 9781681234977

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Rethinking Social Studies and History Education: Social Education Through Alternative Texts

Rethinking Social Studies and History Education: Social Education Through Alternative Texts

Cameron White

INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com

Library of Congress Cataloging-in-Publication Data The CIP data for this book can be found on the Library of Congress website (loc.gov). Paperback: 9781681234977 Hardcover: 9781681234984 eBook: 9781681234991

Copyright © 2016 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America

CONTENTS

1.

Rethinking Social Studies for Social Education: Media and Popular Culture as Alternative Texts ..................................................... 1

2.

The Pop Potential: Integrating Media and Popular Culture in Social Education ................................................................... 23

3.

Critical Media Literacy .......................................................................... 29

4.

Digital Citizenship: Integrating Civic and Social Media for Active Citizenship ................................................................. 37

5.

The Tide Continues to Rise: Social Studies Through Sports Movies .......................................................................... 43 Cameron White

6.

Engaging our Kids! The Election, Citizenship, and New Technologies ............................................................................................. 53

7.

Asia Pop: Investigating Asia with Media and Popular Culture ......... 61 Cameron White

8.

Digital Pop: Digital Storytelling and Popular Culture in Social Education ................................................................................................. 69

9.

Global Pop: Building International Connections Through Music..... 85

10.

Hollywood History: Revisiting Film as History .................................. 93

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Local to Global: Pop Connections in Our Globalized World ............. 99 v

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Latin Americanizing the Curriculum: Celebrating Hispanic Culture ................................................................................................... 107

13.

Teaching Peace and War With Media and Popular Culture ............ 113

14.

Making History Matter: Popular Culture and 9-11.......................... 121

15.

Youth Participatory Politics ................................................................. 127

16.

The Arts of Texas are Upon You: The Possibility of Public Art ...... 137

17.

Texas, Our Texas: Celebrating Texas Through Popular Culture .... 143

18.

Texas Popular Culture: A Case Study of Hubris and Exceptionalism ...................................................................................... 149

19.

Filling the “Holes”: Youth Culture in Social Studies ........................ 157

20.

Day and Night at the Museum (and Beyond): Popular Culture and Natural History/Science ................................................................ 165

21.

Are They “Bugging” You? Animated Movies and Popular Culture in Social Studies ...................................................................... 171

22.

Linking Present and Past through Culturally Responsive Teaching ................................................................................................. 177

23.

Prairie Wind: The Prairie in American Popular Culture ................ 185

24.

“Frontiers” of Popular Culture ........................................................... 191

25.

Across the Borderline: Teaching Immigration Issues Technology .. 195

26.

Rethinking History Texts: Translating to the Classroom ................. 205

CHAPTER 1

RETHINKING SOCIAL STUDIES FOR SOCIAL EDUCATION Media and Popular Culture as Alternative Texts

Media and popular culture should be used as alternative texts in education. These alternative texts provide an opportunity for the common understandings, dialog/ communication, cultural identity, motivation, and context/connections. In addition, themes that need addressing tied to integrating media and popular culture in teaching and learning include information transmission, media literacy, technology, globalization, coverage versus depth, problem solving/inquiry, and moral panics. The idea is to focus on critical inquiry in all areas of teaching and learning, including curriculum, instruction, and assessment. We also provide practical applications and specific examples of current media and popular culture. In presenting application examples, the chapter will include a summary, critique, application ideas, extensions, and related resources. Media and popular culture offer great potential for transforming teaching and learning. A strong argument can be made that media and popular culture are very influential on our students and on all of society. Our society has made media and popular culture a cornerstone of cultural identity. It is precisely in the diverse spaces and spheres of popular culture that most of the education that matters toRethinking Social Studies and History Education: Social Education through Alternative Texts, pages 1–21. Copyright © 2016 by Information Age Publishing 1 All rights of reproduction in any form reserved.

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day is taking place on a global scale (Giroux, 2004). We do need to acknowledge that popular culture is part of our lives and is very important to our society, our citizens, and especially our children, regardless of the debate or which end of the spectrum one subscribes to. In a society increasingly fragmented by debate, misunderstandings, and lack of consensus, perhaps popular culture remains one of the few arenas that provide a forum for common understandings, dialog, and communication. New technologies, television, movies, music, and other media often provide connections among our often disconnected citizenry. We still talk at the “water cooler” about recent pop phenomena; and thus, we owe our students opportunities for critical analysis of media and popular culture. Rather than blindly accepting the “Disneyfication” or “Simpsonizing” of our students and their lives, we should use elements of popular culture as teachable opportunities. Film, television, music, literature, and other forms of popular culture can provide rich opportunities for teaching and learning. We cannot ignore or censor popular culture as a text/tool for social studies. If we are interested in facilitating the “great” goals of social studies such critical thinking, collaboration, democracy, efficacy, and also connect with students, then media/popular culture is a natural tool for teaching and learning. Popular culture embodies a language of both critique and possibility; a language that allows students to locate themselves in history, find their own voices, and establish the convictions and compassion necessary for active citizenship (Freire & Giroux, 1989). Many contemporary educators agree that the aim of schooling is to provide students with the knowledge, skills, and attitudes needed to meaningfully engage in responsible citizenship (NCSS, 2013); however, there is far less agreement on the best practices to achieve those goals. Further, the directive to include learning opportunities for skills and attitudes, even though they are specifically required by many states in their social studies teaching and learning standards, is often neglected by both teachers and administrators for the more tangible (and testable) knowledge component. This approach was ensured by No Child Left Behind (2001), which created a low-level high-stakes testing environment. Many schools have evolved into places where inquiry and active engagement are not encouraged (White, 2011). Diane Ravitch, a former champion for the standards and accountability movement, acknowledged in an article entitled “The Obsession with Testing is Nuts” that the current level of testing has actually resulted in “less education” (2010). A standardized curricula, instruction, and procedures dictate little risk-taking. Teachers and administrators have become afraid to drift from the norm. Teachers often even state that they don’t have time to teach anything but the mandated curriculum. The accountability and achievement movement has severely limited what can occur in schools in the name of teaching and learning. For many students, a bland and boring social education has thus emerged (Kincheloe, 2005).

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This environment has had a deleterious effect on students. They are disengaged, unprepared, and uninspired (Giroux, 1996). These circumstances have had serious implications for public and social life in the United States. The current “supply-side” education approach, or the “trickle down” of knowledge to students within an institutional environment, has undermined the schools’ role in the training for democratic citizenship (Kincheloe, 2005). It is important that social studies educators recognize that in the 21st century, an educational setting cannot be limited to merely the classroom. Approaches to learning must be “integrated with all aspects of living, from work to entertainment to leisure” (Goldfarb, 2002). We live in a participatory culture that requires us to contribute and produce, not merely consume (Jenkins, 2006). Media and popular culture, when used effectively by teachers, can help counter this negative trend. If we are truly interested in students learning and applying social literacy knowledge and skills, then we must make stronger efforts toward integrating real-world connections in teaching and learning. These connections allow students to develop the skills needed to construct knowledge. Media and popular culture can enhance a transformative social studies education by providing these connections. Increasingly, the nexus of power in the world can be found in media. As both cause and effect of media’s power, we experience the world now primarily through popular entertainment, or popular culture (Danesi, 2008). As a result, media education and media literacy are even more important. These literacy issues are increasingly addressed in the position statements of international and national education organizations such as National Council for the Teachers of English (NCTE) and the National Council for the Social Studies (NCSS), and many states have included them into the content standards. Unfortunately, these issues have proved difficult to assess and have therefore, for the most part, been ignored (Walker, 2010). This has been the case for most of the skills and/or attitude standards in states such as Texas and Washington. We are missing the opportunity to strengthen the preparation of young people to, as Thomas Jefferson said, assume the office of citizen. According to Jefferson (Meachan, 2012), “the qualifications of self-governance are not innate. They are the result of habit and long training”. Integrating popular culture into social studies teaching and learning may be an effective way to provide skill and attitude training to prepare students for productive democratic citizenship. Given the power and pervasiveness of popular culture it should no longer be written off as innocuous fluff (Walker, 2006). Gee (2008) wrote, “Young people sometimes seem to engage in deeper learning in their popular culture than they do in school, especially schools devoted to skill-and-drill in the service of passing standardized tests” (p. 1024). Popular culture belongs in the classroom as both pedagogy and text. Students should learn about, and through, popular culture. Media and popular culture belong in classrooms as both pedagogy and text and can facilitate opportunities for common dialog and understanding. Popular

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culture often provides a context for connections to the world and sensemaking in the world. This dialog and common understanding in media and popular culture can be used to enhance social education (White, 2003). Again, despite the often negative view adults often have of various media and popular culture, there seems little today that we get excited over and encourages social discourse more than this culture. Allowing students to bring in their cultural choices as they investigate issues, make connections, construct knowledge, and engage in sensemaking may very well be a threat to the entrenched (Daspit & Weaver, 2000). Issues Several issues arise regarding the integration of media and popular culture in teaching and learning. These include the following: • • • • •

Economic, market, and consumer issues Cultural preferences and social factors Ideology, dominance, and agendas Popular culture and mass appeal Moral panic and popular culture

These issues suggest using and analyzing media and popular culture in critical analysis of societal concerns. They should definitely be addressed, particularly as part of the promotion of critical social education—that which promotes multiple perspectives and critical investigation. A related concern is that these issues are often employed as reasons to belittle or demean popular culture, often leading to censorship. Economic, market, and consumer issues affect the state of popular culture. The issues of mass market and what sells often dictate kind and quality of music and other popular culture. Many even suggest that the idea of mass-produced culture for profit limits creativity and choice regarding options for the public. A few corporations dominate the media industry, perhaps suggesting that these have become culture industries, creating our culture for us, less for creativity and pleasure sake than for corporate profits. The globalization of market ideals has often also narrowed the global media market, often at the expense of the popular culture and media in various societies (Crothers, 2007). Related to the influence of corporations is the idea of cultural imperialism. Popular culture (at least in global sales) is dominated by the United States and Britain. As a result, global cultural preferences are often dominated by the United States. Societal factors also influence popular culture, which is perhaps the reason for the success of Western popular culture throughout the world. Despite the power of the global popular culture industry, class and ethnicity can often provide a strong influence on trends and even sales in popular culture (Crothers, 2007). A particular critique of popular culture is the perceived ideology, often inherent within, in reinforcing dominant values and the agenda of those in power. Many

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suggest that that which is popular only becomes accepted so as to ensure the status quo. In other words, the hegemonic powers would not allow much popular culture or media to question or challenge entrenched societal values. Despite the perceived success of this agenda, much popular music has successfully usurped the system and affected societal change. Popular culture as one vital component is perhaps one of the few remaining avenues for possible common dialog and understanding. If nothing else, it often provides a context for connections to the world and sensemaking in the world. Passion and intrinsic appeal is somehow inherent in popular culture. This dialog and common understanding in popular culture and media can be used to enhance critical social studies education (White & Walker, 2008). Exploring popular culture of the times or about the times can really assist in providing context and connections for students, particularly if they are allowed to compare with their popular culture. Perhaps the more intriguing issue regarding media and popular culture is the idea of moral panic and the threat to society. As a result, new popular culture is often subject to condemnation, censorship, and regulation by those is power in schools or society at-large. For example, from the early experiences in pop such as Elvis to punk to heavy metal to hip hop, music has been questioned regarding its legitimacy and impact on popular culture and society. Music is often viewed as promoting antisocial behavior and attitudes in popular, therefore many feel it must be controlled or at the very least ignored. Thus, application of popular music in schools is rarely found as it is perceived to do little in meeting traditional goals. What one often finds in schools is a negative reaction to kid culture in whatever form (music, video games, new technologies, etc.) through stereotypes, banning, and demeaning acts and comments. Media and popular culture as very vibrant examples not only serve as a reflection of the times, but as is evidenced from the social history of the late 20th century, can also be very active social forces. Economic factors, such as the Great Recession of 2008–2009 and socioeconomic differences, influence popular culture. The prosperity that emerged following WWII enabled music to flourish as a dynamic force. An essential component of popular culture is knowledge and awareness of music fads and trends. The economic climate of the times (whichever period one mentions) is again often reflected in the media that is popular. Economic and social issues are particularly evident in the music of the late ’60s, early ’70s, early and late ’80s, and much of the ’90s. Technology has also provided an impetus for the development of popular culture as a societal force. Developments in the latter half of the 20th century not only brought music to the masses, but they also enabled new and innovative sounds and techniques to be introduced. The electric guitar, synthesizers, and computers have had quite a substantial impact on the evolution of music. Television, film, and new technology can all be investigated regarding their influence on music, popular culture, and society. Technology has become a vital theme in

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society. Using technology as an agent in popular culture can really facilitate the idea of social efficacy since technology and technology issues are so prevalent in today’s society. Twitter and other social media as used recently in Tunisia and Egypt are examples. One of the most controversial issues related to the growth of music as popular culture is that of the influence of industry and the idea of corporate profits as the driving force for music. Central to issues with popular culture is the connection between marketing and popular culture in the late 20th century to the present. Artists often provide empowering social efficacy messages, but are also subject to personal sales. This often contradictory issue can provide much fodder for debate in the teaching and learning process. Issues related to capitalism, globalization, music choices, hegemony as the driving force, marketing, and how each relates to social education could easily be integrated into schooling as we attempt to facilitate critical and active participation in society. Integrating discussions and debates regarding these issues are meaningful strategies for the classroom. Integrating popular culture has great potential in promoting critical social education. Despite the lack of its use in schools, popular culture has had a profound effect as a force for social change. Instead of dismissing its potential, schools would be wise to work diligently on integrating popular culture into the teaching and learning process if for no other reason than that there is a desperate need to improve the perceived relevance of schooling (at least in our kids’ eyes). Popular Culture as Pedagogy: Games and Television School is unengaging for many students today (Ravitch, 2009; White, 2011). This is especially true for students in social studies where students think that the classes are boring and the material covered is irrelevant (Loewen, 1995). Generally when it comes to learning, teachers often have to be more concerned about covering the tested content than about either the learner or the principles of democratic citizenship. Unfortunately, as recent National Assessment of Educational Progress (NAEP) scores in social studies content areas such as U.S. History reveal, merely teaching the content that will be on the test is not effective. Researchers suggest that there may be a connection between students’ lack of engagement with both content and learning with a lack of enjoyment in learning (Ravitch, 2009, White, 2011). Enjoyment and motivation are linked. Student learning is contingent on a willingness to engage and to persevere, and that this will not be the case unless the learning task is considered potentially enjoyable. This will produce the motivation to begin, and once experienced as enjoyable, persistence will result. The emotional connection to the material may expedite the construction of meaning and can be especially useful in the social studies since, as Loewen (1995) explains “Emotion is the glue that a causes history to stick” (p. 294). Using popular culture that is important in the lives of students in a classroom is motivational for the students since it gives them a sense of ownership of both the material and the learning

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(Walker, 2006). Two mediums of popular culture that can be used effectively in social studies teaching and learning are video and computer games and television. Video and Computer Games Play has long been considered to increase motivation in learning (Rieber, 2001). According to Gee (2003), video games are the leading form of entertainment for the K–12 generation. The Pew Research Center’s Internet and American Life Project, conducted from November 1, 2007, to February 5, 2008, surveyed 1,102 youth ages 12–17 about their video game habits (Lenhart et al., 2008). Researchers found that gaming in this age group is pervasive and nearly universal: 99% of the boys in the study and 97% of the girls play video games. Gaming is also social: 76% of the respondents reported playing games with others at least some of the time. In the 2 years following the Pew Research Center survey, the number of people playing games increased: according the Entertainment Software Association’s (ESA) 2015 Essential Facts Report, more than 150 million of individuals in American households play video or computer games. Contemporary video games are long, complex, and difficult; however, as Gee (2008) points out, “If they could not be learned they could not be played and in fact it has been argued that such games recruit learning as a form of pleasure” (p. 1024). Games today require a substantial cognitive investment from players. Gamers learn to think like scientists: “hypothesize, probe the world, get a reaction, reflect on the results, and re-probe to get better results” (Gee, 2008, p. 1024). Squire (2008) warns educators that the gaming generation will have a difficult time adjusting to “traditional schooling with its grammar of teachers text as authority and student as product, when outside school this generation relives historical eras, leads civilizations, conducts forensic investigations or can earn a real wage by buying and selling virtual currencies” (p. 639). Jenkins and Fuller (1995) explain that educators must develop an understanding of how games are transforming previous forms rather than how they fit into the traditional curriculum. Video or computer game play may provide learners the same, or even improved, skills and attitudes that are sought in the classroom through traditional instructions strategies such as simulations, role-play, and cooperative group activities. Game play in Civilization, Sim City, and even Oregon Trail centers on overlapping choices and consequences. According to Parker, deliberation in the decisionmaking process is “probably the most important foundation of democratic citizenship” (2009, p. 73). He goes on to say that these skills are often not intrinsic and must be “taught, practiced, and learned” (p. 73). Playing games such as Civilization and World of Warcraft are highly motivational for students as well as offering opportunities to practice decision-making skills. Game-play decisions are taken very seriously as they may affect life and death (albeit in a virtual world). Also, players’ decision making in these games alters the play and therefore results in a “real sense of agency, ownership, and control; it is their game” Gee, 2008, p. 1025).

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Researchers who were involved with the Pew Research Center’s Internet and American Life Project (Lenhart et al., 2008) examined specifically the question of whether civic development among young people is connected to civic gaming experiences such as “creating a virtual nation, working with others cooperatively, expanding one’s social network online, and helping less experienced players play games.” Among those surveyed, young people reported encountering the following civic gaming experiences at least sometimes: 76% reported helping others; 52% reported thinking about moral or ethical issues; 44% reported learning about a problem in society; 43% reported making decisions about how a community, city, or nation should be run; and 30% organized or managed game or affinity groups. Further, those who have the most civic game-play experiences report a much higher level of civic and political engagement than those who have not had these experiences. Among those who had the most experiences, 70% go online to get information about politics and current events compared to 55% of those who have the least number of civic game-play experiences; 70% of those with the most experience have raised money for charity in the past 12 months compared to 51%; some 69% are committed to civic participation compared to 57%; and 15% of those with the most civic game play experiences have participated in a protest, march, or demonstration compared to only 6% of those who have had the least civic gaming experiences. Respondents who reported playing games socially tended to be more engaged than those who played individually. Interestingly, social game play is correlated to civic engagement but only when the players are in the room together and playing online. In addition to democratic skill building and improved attitudes toward civic engagement, educators should consider using video games to improve spatial cognition skills (Feng, Spence, & Pratt, 2007; Spence, Yu, Feng, & Marshman, 2009). Spatial cognition is particularly important to the study of geography. According to the International Encyclopedia of the Social and Behavioral Sciences, the use and design of maps and other geographic information products depends, in part, on human understanding of depicted spatial relations (Smelser & Baltes, 2001, p. 14772). Researchers have generally accepted that there are gender differences in spatial cognition (Kimura, 1999; Terlecki & Newcombe, 2005; Voyer, Voyer, & Bryden, 1995). Feng et al. (2007) found that there were no biological causes for these differences. One reason that differences in these cognitive skills are found in adults may be the differences in the play as children (Baenninger & Newcombe, 1989). Boys’ game play, such as building structures and sports games, often exercise spatial abilities, while girl games generally do not. More recently, video and computer game play has been associated with improved performance on a variety of high-level spatial tasks (Law, Pellegrino, & Hunt, 1993). Many of the greatest improvements have been seen among those who play first-person shooter games (Green & Bavelier, 2007). Unfortunately, these games are more popular among males than female (Lenhart et al., 2008; Terlecki & Newcombe, 2005).

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Spence et al. (2009) conducted a research study that showed that when females and males started at the same ability level in mental rotation tasks, playing video games for 10 hours a week improved both groups at the same level. They experimented with two types of video games: a puzzle game (Tetris) and a firstperson shooter game (Medal of Honor: Pacific Assault). Playing Tetris produced no significant changes in visual attentiveness, the primary factor underlying spatial cognition (Feng et al, 2007; Spence et al., 2009). Tetris players focus primarily on one object at a time. Players are not required to detect, discriminate, select, or track objects over a wide field of view (Spence et al., 2009, p. 1099). First-person shooter games, on the other hand, require that players pay close attention to multiple objects. While players focus on their character’s field of view, they also must be constantly aware of what is going on in the virtual world just outside their view. Players must be aware of actions and events of other characters that affect the game play. Virtual worlds also require virtual maps, and players must simultaneously manage navigation screens to stay on course. Good games, according to Gee (2008), encourage players to “to think laterally (not just linearly)” (p. 2025). Spence et al. (2009) found that playing complex first-person shooter-type video or computer games will improve visual attentiveness and therefore spatial cognition. Game play can erase gender differences in spatial cognition in adults. Even more encouraging was the finding that even non–video game players realized large gains after only 10 hours of training and play. Television Broadcast television is seen by many as an educative tool (Buckingham, 2007). Broadcasting opened doors to experience for viewers and was seen as reality, never as constructed. Educational researchers advocated the use of broadcasts as a valuable teaching tool for students who were disenchanted (Beastall, 2006). Buckingham (2007) writes that early research on the use of broadcasting in education cited the “magical power” of television to transfix children (p. 54). According to Scupham (1964), the “immediacy of television” was most appropriate for students who were academically challenged, those who “accept and understand life” in “concrete terms” (p. 8). Buckingham (2007) associates this view with the deficit model of the working-class child for whom television was alleged to compensate for his or her “innate limitations in intellectual ability” (p. 55). Therefore, unsurprisingly, educational broadcasting was far more concentrated in lower-achieving secondary schools to target underachievers (Beastall, 2006; Goldfarb, 2002). According to Goldfarb (2002), the Ford Foundation played a major role in the direction that early educational television moved. The Foundation was one of the initial supporters of using televised broadcasts in schools in the United States. Their focus was not on innovation but rather on efficiency. They sought to introduce broadcasts and standardize curriculum and pedagogy in order to reduce educational staff in the schools. Interestingly, the funding that they contributed

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to educational television meant that it would not stay within the confines of the schools but rather quickly infiltrated public and domestic spaces as well. This gave them a pedagogical authority outside the classroom, one that gave viewers information. This view of broadcast television held for nearly a half century. Goldfarb (2002) suggests that this is now facing significant challenge. Television has become the “modality of choice,” even in educational settings where “high levels in achievement in reading and writing are assumed to be the norm” (Goldfarb, 2002, p. 20). For educators, the value of television extends beyond the belief in the magic of, and the inherent authority in, the broadcast itself. The notion that merely showing televised images to unengaged and underperforming students will communicate some real knowledge is the lowest form of pedagogical practice. Those who limit the use of broadcasts to this purpose are missing an opportunity to hone critical thinking skills, long associated with decision-making ability, a key to responsible citizenship (Parker, 2009). Johnson (2006) writes that popular television broadcasts today have become more complex than earlier versions and require viewers to develop higher levels of thinking skills in order to make sense of them. According to Johnson, popular television shows have “increased the cognitive work they demand from their audience, exercising the mind in ways that would have been unheard of 30 years ago” (p. 62). For example, Johnson explains that the same cognitive skills long attributed to reading print text now are required to read televisual texts: “attention, patience, retention, parsing of narrative threads” (p. 64). Critical engagement with television is increasing (Caughie, 2006), which requires unprecedented interactivity between broadcast and audience (Jermyn & Holmes, 2006). Engaging students in critical analysis activities such as debates, group discussions, or simulations can enhance these endeavors. The interactivity required by video and computer games is much higher than viewing broadcasts, however, there is far less passivity possible with the televisual today than ever before (Caughie, 2006; Jermyn & Holmes, 2006; Johnson, 2006). Many current shows require viewers to track multiple threads that run through the narrative in order to make sense of complex broadcasts. These are shows that “force you to be intelligent” (Johnson, 2006, p. 63). Johnson (2006) makes a distinction between the broadcasts that require intellectual work on the part of viewers and intelligent shows where the words and actions of the characters express intelligence (i.e., Big Bang Theory and Outsourced). These shows require viewers to pay attention to the narrative but do not force them to remember or interact with it: “you don’t challenge your mind any more than you challenge your body by watching Monday Night Football” (Johnson, 2006, p. 64). Even the much-maligned relatively new genre, reality shows, requires audience interactivity. Viewers of shows such as House Hunters follow home buyers into three houses, one of which they will make an offer to purchase. The audience can invest a great deal of the show’s 30-minute total broadcast time learning about the

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purchasers. Then viewers can compare their own personal stories and preferences to those of the home-buyers and then predict which of the three houses they will choose. In this reality show, viewers do not influence the purchasing decisions; however, in some reality shows such as American Idol and The Bachelor, viewers do get a say. In fact, they deliberate on the “issues” at hand and get a “vote” that influences who “wins” and who “loses” on the show. A viewer’s decision-making process is often the same for choosing an American Idol as it is for choosing a member of the House of Representatives, albeit with far lower consequences for a bad choice. Discussing and writing on the decision-making process for voting on these shows and in election is definitely warranted. Broadcasts not only have the potential for improving critical thinking and decision-making, two vital skills for civic competence, but also for connecting like-minded people into interest groups. The ability to collaborate effectively as a member of a group is a fundamental citizenship skill (Beal, Bolick, & Martorella, 2009). Fans of broadcasts often use digital technologies to form virtual communities. Fan culture, once considered to be the domain for science fiction fanatics (e.g., Trekkies), is now acceptable participation (Jenkins, 2006). Fans are no longer thought to be merely “cultural dupes who passively ingest mainstream media” (Black, 2008, p. 594). Fans join others in fandom groups that then become part of the larger participatory culture (Jenkins, 2006). Allowing for students to bring in their personal popular culture as examples or representations again facilitates better connection for teaching and learning. Jenkins (2006) explain that participatory culture is “emerging as the culture absorbs and responds to the explosion of new media technologies that make it possible for average consumers to archive, annotate, appropriate, and recirculate media content in powerful new ways” (p. 10). Today, many of us, at least in the United States, are not only consumers of media but also producers. It is the interactive nature of new media as both cause and effect of participatory culture. Jermyn and Holmes (2006) point out that new technologies, especially the digital video disk (DVD) and the digital video recorder (DVR) along with multichannel television, have changed the way we engage with film and television: “increasing numbers of viewers are being ‘empowered’ and encouraged to become television connoisseurs as deeply passionate, reflective, and knowledgeable about TV as film buffs are about cinema” (p. 55). They go on to explain that telephiles often invest in the texts they have become fans of, owning collections and becoming “media historians.” In a participatory culture (one where we have a stake and increased input) it is “We the People” who make the decisions from the bottom up rather than the top down. Participatory culture erects very few barriers to prevent or discourage people from civic engagement. As a result, Gee (2004) and others point out that the new participatory cultures are ideal learning environments. He refers to these informal educative opportunities as “affinity spaces” and favors them because they are

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sustained by common endeavors that bridge differences in age, class, race, gender, and educational level, and because people can participate in various ways according to their skills and interests, because they depend on peer-to-peer teaching with each participant constantly motivated to acquire new knowledge or refine their existing skills, and because they allow each participant to feel like an expert while tapping the expertise of others. (Gee, 2004, as quoted in Jenkins, 2006)

Black (2008) points out that online affinity spaces, where more and more young people are spending their time, offer effective learning environments. One reason is because they are organized around a common interest or activity so anyone can join. Members bring a range of knowledge and understanding to the space, which offers multiple opportunities for members to both teach and learn (Gee, 2004). Group membership and participation skills are major factors in responsible democratic citizenship. Teachers today have an unprecedented range of popular culture texts and genres to use in constructing teaching and learning opportunities for students. Often students have extensive educative experiences with these texts outside school, and educators need to understand and appreciate the variety of social and cultural venues in which the experiences take place (Kincheloe, 2001). Educators must recognize these experiences as legitimate means for building the skills and attitudes of responsible citizenship and civic engagement. Popular Culture as Text Music Effective integration of media and popular culture in schools is definitely improving Obviously, music programs help students develop into more well-rounded human beings. An appreciation of music and art, and other media is vital for critical social education, yet often one finds that funding for the arts is the first to be cut in times of financial crisis. And now, with the emphasis increasingly placed on achievement of “essential” knowledge, one often finds time for the arts being cut as well (Eisner, 2004). There are also instances of teachers (acting in isolation mostly) who integrate popular culture into their teaching environment. Some teachers play classical or jazz as background music as students work on assignments. Others allow students to bring in examples of their own to play during these assignment times, or even as free-time sharing. Perhaps the most effective use is when a teacher actually integrates music into the teaching and learning process. Some social studies teachers, for example, have used music very effectively to demonstrate historical periods. Sample music integration examples include units on music and war, music and postwar America, the labor movement and music, social issues and music, and global cultures and music. Many of these examples, while at least using music, are teacher directed with the teachers usually choosing and demonstrating the music examples. This is defi-

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nitely a first step in meaningful integration—that of modeling—but critical social efficacy necessitates more student active involvement and choice (Brooks & Brooks, 2001). Critical social efficacy requires that we engage in a more sincere effort at promoting the context and connections needed to ensure a more relevant learning experience. Allowing students to be involved in the social construction of meaning in their world is a vital step. Keeping with social studies examples, using current events and social issues to provide context and connections for today and for the study of the past enhances the links necessary for student efficacy and empowerment. Popular music is a natural tool for achieving these goals—but it must be students’ popular music. We can demonstrate ours as examples and modeling, but again, allowing students to include theirs in the teaching and learning process takes it that needed step. Only then can we hope to facilitate critical social efficacy. Most music genres or individual artists contain examples of songs that contain social commentary or historical references. Many people are under the assumption that social commentary in music reached its peak in the late ’60s and early ’70s. Punk, hip hop, and grunge are genres from the ’80s through today that provide considerable social commentary and historical references. And pop still has much to say regarding social efficacy. And these are often the genres that most interest our students. While we may just not understand the music of today, we cannot become our parents and blindly dismiss its potential for critical social efficacy. Many forms of popular culture emerge as commentary or resistance toward more mainstream culture and society. Perhaps no better example of this exists than in pop music. From its earliest days, pop has been viewed as cutting edge, crossing boundaries, and a threat to the values and morals of society. Little Richard, Elvis, the Beatles, Bob Dylan, NWA, Nirvana, Green Day, acid, pop, heavy metal, disco, punk, MTV, grunge and thrash, rave, and hip hop have all witnessed their detractors and have been viewed at one time or another as threats to the basic social fabric. Through its history, pop music, like all forms of popular culture, has not only served as a reflection of the times, it has been a catalyst for critical social efficacy and societal change. Several themes can be used to integrate pop music into teaching and learning for social efficacy in schools. Pop music can be a very powerful theme as students investigate issues such as ethnicity and the struggle for equality, population growth, economics, technology, business and industry, efficacy, and empowerment within the context of social history (White, 2003). This focus in itself would provide the necessary relevance students need to facilitate intrinsically a love of learning leading to effective social efficacy. Perhaps the most relevant issue surrounding music (at least regarding schooling) is its role as societal force; as this relates most directly to the issue of social efficacy. Regardless of the genre, popular music remains a vibrant cultural phenomena that not only reflects societal issues but can also have a proactive impact. Exploring the role of music in reflecting and impacting societal change can be a

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very motivating experience for kids in their endeavor to make sense of the world. The idea that music can not only be a device for entertainment but one that provides social commentary and perhaps even a “call to arms” for change enables it to be a powerful tool for social efficacy. “New” Technologies A recent Sunday edition of the comic strip Pearls Before Swine is a perfect illustration of technology saturation. Rat is at the computer working on his résumé. “Ping!” An email arrives that he must read. It has a YouTube attachment that must be watched. It stirs questions necessitating his consulting Wikipedia. Additional questions emerge that make a Google search also necessary. Once he has images and information, he sees the need to post an update on Facebook. While posting he receives a friend request from a person he does not know, suggesting the need for another Google search. All of this leads him to write about his findings on his blog. He finally realizes that he must get back to working on his résumé and clicks back, just in time to hear “Ping!” He has received another email which takes him off again. Sound familiar? All of these new technologies can be integrated into social studies through individual, small-group, or whole-class projects Tablets, smart phones, laptops are some of the latest technological innovations that are engulfing many parts of the world. The unveiling of the iPad made almost as much news as the iPhone, including front covers of major newspapers and magazines. The finding of the prototype new generation iPhone in a California bar made national news. Thus the debate continues—is all of this new stuff really making life easier, or is much of it just constant marketing so that consumers long to purchase the next new gadget? And what about video game systems, and what role will/should these new technologies have in education? Perhaps these could be questions for discussion in social studies classes. Recent reports indicate that kids under the age of 18 are no longer watching television, and that their first choices are video games, their cell phones, or the Internet (Johnson, 2006). These new technologies are as much popular culture as movies, music, or television. In fact, these new technologies are directly affecting all the other forms of popular culture. Music is now mostly downloaded on computers and played through MP3 devices. Much the same can be said about movies and television. Many people are choosing to download favorite shows or movies from the web onto computers, tablets, or iPods. The video game market makes more money than the film industry. Using these texts and tools rather than censoring them can only enhance an integration of multiple perspective and learning styles. Technology conversations are now the norm at the water cooler. Have you seen the new app? Did you hear about the iPhone mishap? What level did you reach on . . . ? Were you able to DVR . . . ? Have you seen the new viral video on YouTube? Many of us engage in these conversations several times daily. Technology innovation and use is now the popular culture of choice, and all other popular culture

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is adapting to the new technology tools. In fact, it is really often about the tools rather than the video, music, or film. Every aspect of our lives is being affected. One report stated that in 5 years, the entire population of the world will have some type of access to smartphones, for example (NPR, 2011). Much of our time is now spent using new technologies. And for many of us the smartphone or iPod have become appendages, as ubiquitous as anything else in recent memory. We read and often complain about students multitasking, but we are all becoming quite adept at this at least perceived required talent of the 21st century. Should we celebrate this, accept it, and move on? Or should we question this as some challenge to social development and meaningful human endeavor? We better embrace new technologies now, through application and critical analysis, and social studies is a natural fit. Some students are already way beyond their teachers, and this really offers a possibility for the classroom. Embracing these new technologies rather than dismissing or censoring them can pave the way for more student-centered approaches to teaching and learning. And whether we like it or not, this is how students engage and ultimately learn. Beyond the use of these technologies in schools, they enable critical analysis, collaboration, and debate—skills we need to embrace more. For example, these skills are vital in social studies (and society), and the theme of technology is ripe for connecting with students. What has rarely occurred in schools is using technology to focus on rights and responsibilities. What is also rarely done is to allow critical investigation of the web. Issues such as appropriateness, marketing, information as knowledge, and bias offer great learning potential, but are usually ignored or deemed inappropriate. These new technologies can also foster collaboration through problem- and project-based instruction. What about the “issues” in integrating these new technologies in schools? Generally only the “safe” ones are allowed. Much of the technology embraced by students is censored or banned from teaching and learning. Many schools have often only allowed very limited access to sites on the Internet. YouTube is censored, Wikipedia is banned, and web 2.0 tools are rarely integrated. It is all about the devices—that is what the media hoopla is all about. It is what we are literally “buying” into. The smartphone wars are crazy, as new iPhone launches are societal events. At some point educators need to accept the fact that there is great potential for their use in teaching and learning. Texting, tweeting, polling, Internet access, GPS, maps, Google apps, and using other apps all have meaningful potential and offer ways that naturally connect to students. We have all read recent reports regarding the amount of texting and even tweeting occurring among young people. Texting, tweeting, and Facebook are now their communication tools of choice, each readily accessible through smartphones. The immediate future suggests increased use of them; there are already great examples of schools allowing and teachers integrating smartphones in teaching and learning activities.

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Smart phones, tablets, laptops, and hybrid devices such as the iPad are currently the technology of choice. Many schools and even entire states are using such devices to replace traditional resources such as textbooks and the one-computer classroom. Likewise, innovations such as Flip cameras, digital capability on smartphones, and numerous video uploading sites are facilitating the incredible growth of online video. Again, media hype exists with these devices as well, but the educational potential is also evident. The Internet has resources and tools that can definitely enhance teaching and learning. Web 2.0 tools are excellent for classroom use as they generally are free and only require a computer and Internet access. Google has numerous tools that have great potential for the classroom. Beyond the information sites, Google Docs and Google Sites allow for very creative collaborative project development. Blogs, Ning, and wikis are social networking sites that can be established for classroom sharing and project development. Prezi and SlideShare are two tools that allow for online presentation development. Polls can be conducted using tools such as Poll Everywhere and PollDaddy. Screencasting can be used to demonstrate the use and analysis of websites. Each of these can be explored through web searching or finding various web 2.0 sites. Facebook and Twitter are increasingly social media of choice (see recent reports on world crises). Facebook has overtaken Google as the most accessed web tool in the United States on a daily basis. While many schools censor the use of these tools, schools and individual classes are increasingly implementing these and other social networking sites. A quick search focusing on Facebook, Instagrams, Youtube, blogs, Twitter, and “education” or “use in the classroom” results in interesting student-centered ideas. A current debate regarding security, privacy, and smart phones demonstrates ongoing issues regarding technology. These tools are often the most immediate method for many to post breaking news (terrorism and other crises). Focusing specifically on web 2.0 and social networking, Classroom 2.0 and other sites such as Ning for Education have been established to facilitate integration with teaching and learning. Such sites keep up with new technologies, resources, and additional links to enhance new technologies for education. They also do not steer away from the controversies and debates; they provide additional links and suggestions dealing with these issues. Even many professional education organizations are now suggesting better use of social networking in classrooms (National School Boards Association, National Education Association, National Council for the Social Studies). A new viral video is often the rage among students and is in the news and online almost daily (Lady Gaga is the first to have over 1 billion YouTube hits). Students are choosing this popular culture instead of television and even movies because they can be active participants. Music artists often post their new video online as a method of marketing new projects. Students are doing the same thing by posting self-made films, music videos, documentaries, and commentaries.

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There are many digital video sites on the web, but YouTube is the best known. Its use is rife with controversy as there are many inappropriate videos found there. Regardless, YouTube offers many valuable resources that can be meaningful in classrooms. YouTube is used constantly by students to upload their own homemade videos and to view the latest viral video. There are many instances of schools and classrooms establishing their own YouTube channels for projects. There is also TeacherTube for more traditional educational video. Despite the reservations, online video has great potential for the classroom, especially if it is student-centered. And there are many sites that enable the capturing of individual online video for use in the classroom such as Media Converter and Snagit. Please see the online videos listed at the end of the chapter. Many were developed by students focusing on technology and learning for the 21st century. Perhaps the technology that is affecting current popular culture the most is video games. Video game platforms are themselves popular culture as competition is fierce between the Wii, PlayStation, and Xbox, not to mention handheld gaming devices. “Edutainment” has been used in the classroom for a long time with games such as Oregon Trail and Carmen San Diego. There are many educational video games that can be integrated meaningfully in the classroom. Examples include Simcity, Civilization, and Quest Atlantis. Many video games are obviously not appropriate for classroom use, but the concept and interactive nature need to be investigated. Virtual world applications such as The Sims have been around for some time. Online sites such as Second Life offer users access to whole new worlds through personal avatars. As a result, many schools have established islands in Second Life for innovative learning through simulations and role-play. Again, controversies exist with such tools, and as a result an education or student-based version of Second Life is now available online. A review of the game Red Dead Redemption stated that not only is it one of the best video games ever developed, but it just may be the best movie of the year. And the popularity of Rock Band Beatles brought generations together. Video games make more money than the film industry in this country. Ignoring them as inappropriate for the classroom is a mistake as discussions about violence, gender, marketing, skill development, and social interaction can be applied. Integrating education or theme-oriented games can also provide connections to and for students. Downloading is a process that is now part of our lives. Increasingly, downloading popular culture such as music, movies, and books has become commonplace. Downloading sites such as iTunes are replacing our traditional ways of purchasing music. “Record and music stores” are essentially part of our history, and even stores like Best Buy have cut their inventory of CDs and DVDs to almost nothing. The same can be said for books. With e-readers such as the Kindle and the iPad, print-based texts may soon be difficult to find. Google is attempting to digitize thousands of books to establish an online library. There are fewer bookstores than ever and print-based newspapers are disappearing. While this is all a bit problem-

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atic, having potential access to thousands of books on a small device is appealing, if only for its portability. Devices such as these (and laptops for all) are the future of our classrooms. Reform is consistently the talk in education circles, and it is increasingly a focus in media and society in general. Educators are often subjected to reactionary approaches to educational reform—the next new thing is all too familiar. Debate rages regarding standards, testing, and achievement. Technology is popular culture, but it is also reforming education and impacting how students learn. New technologies and yes, even the technologies that some adults are not comfortable with, also have great potential for teaching and learning. These are the technologies that many students use on a daily basis. What will be the next new technology? CONCLUSIONS Media and popular culture can make a difference for our students in their learning experience (White & Walker, 2008). What is needed is the understanding that any society can only progress if it moves beyond transmission ideals and the status quo. We must recognize that the growing restrictions and accountability movements in the United States only serve to undermine participatory democracy. Harping on nonissues, prison and punishment mentality, the mythology of America as world savior, corporate and military welfare, and unbridled market globalization are antithetical to social justice. Creating a world of caring and compassion through social justice requires the cultivation of the human spirit, the nourishment of the imagination, and the impulse for self-expression (Ayers, Quinn, & Stovall, 2008). We must not integrate media and popular culture for its own sake and to hopefully placate our troubled youth. We must provide opportunities for in-depth analysis of societal issues through media and popular culture, thus leading to social efficacy. We cannot ignore the issues regarding the economic and political factors possibly driving the choices we are given. The ideas of culture, cultural icons, objectification, and social justice should be explored through in-depth inquiry, problem solving, and critical thinking. Using a Disney movie or a Simpsons episode just because the children like them is not enough. Teachers and others interested in social efficacy and social justice within education must realize that neutrality is an impossibility. What is important is creating a classroom atmosphere where students and teachers are empowered to question and critically analyze social studies issues and themes. It is perfectly fine to disagree, but what is important is creating opportunities for students to act on their ideas (participate as citizens in our democracy). The concept of social efficacy is practically nonexistent in our country today. This should be our goal—through the integration of popular culture in teaching for social efficacy and social justice within the education process.

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Popular culture is a natural intrinsically motivating factor in our lives and should be integrated into the teaching and learning process in our schools. We are all very passionate about our likes and dislikes when it comes to popular culture. It can be a very powerful tool as we hope to develop social efficacy within our students as it allows for transformative investigation. Allowing for the investigation of issues regarding media and popular culture or using both as social and historical references can only enhance powerful social studies teaching and learning that actually involves students in discourse and dialog. What better way to engage in critical inquiry and problem solving for social efficacy than the use of popular culture within our schools? As educators, it is time to follow Kincheloe’s counsel (2001) and participate in a process of “rethinking what education can become, the brilliance it can produce, and the hope and insight it can provide” (p. 4). Learning can truly come alive for our students if educators (I suggest using a more descriptive term such as “educators” than “we” as it’s unclear who “we” is) allow for the integration of media and popular culture. If we are truly interested in facilitating powerful approaches in social education, then we must begin to integrate long-ignored (and often demeaned) tools such as media and popular culture. What is important is creating a classroom atmosphere where students and teachers are empowered to question and critically analyze social studies issues and themes. What better way to engage in critical inquiry and problem solving for education than use media and popular culture in our classrooms? Infusing media and popular culture into the classroom may be one answer. REFERENCES Ayers, W., Quinn, T., & Stovall, D. (Eds.). (2008). Handbook of social justice in education. New York, NY : Routledge. Baenninger, M., & Newcombe, N. (1989). The role of experience in spatial test performance: A meta-analysis. Sex Roles, 20, 327–344. Beal, C., Bolick, C., & Martorella, P. (2009). Teaching social studies in middle and secondary schools. Boston, MA: Allyn & Bacon. Beastall, L. (2006). Enchanting a disenchanted child: Revolutionising the means of education using information and communication technology and e-learning. British Journal of Sociology of Education, 27(1), 97–110. Black, R. (2008). Just don’t call them cartoons: Literacy spaces of anime, manga, and fanfiction. In J. Coiro, M. Knobel, C. Lankshear, & D. Leu (Eds.), Handbook of research on new literacies (pp. 583–610). New York, NY: Erlbaum. Brooks, J. G., & Brooks, M. G. (2001). In search of understanding: The case for constructivist classrooms. Upper Saddle River, NJ: Prentice Hall. Buckingham, D. (2007). Beyond technology: Children’s learning in the age of digital culture. Cambridge, England, UK: Polity Press. Caughie, J. (2006). Telephilia and distraction: Terms of engagement. Journal of British Cinema and Television, 3(1), 5–18.

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Crothers, L. (2007). Globalization and American pop culture. Lanham, MD: Rowman and Littlefield. Danesi, M. (2008). Popular culture: Introductory perspectives. Lanham, MD: Rowman & Littlefield. Daspit, T, & Weaver, J. (2000). Media and popular culture and critical pedagogy. New York, NY: Falmer Press. Eisner, E. (2004). The arts and the creation of mind. New Haven, CT: Yale University Press. Entertainment Software Association (ESA). (2015). Essential facts about the computer and video game industry. Retrieved October 22, 2010, from http://www.theesa.com/ catefory/research Feng, J., Spence, I., & Pratt, J. (2007). Playing an action video game reduces gender differences in spatial cognition. Psychological Science, 18(10), 850–855. Freire, P., & Giroux, H. (1989). Pedagogy, media and popular culture, and public life. In H. Giroux & R. Simon (Eds.), Media and popular culture: Schooling and everyday life. Granby, MA: Bergin & Garvey. Gee, J. (2003). What video games have to teach us about learning and literacy. New York, NY: Palgrave Macmillan. Gee, J. (2004). Situated language and learning: A critique of traditional schooling. New York, NY: Routledge. Gee, J. (2008). Being a lion and being a soldier: Learning and games. In J. Coiro, M. Knobel, C. Lankshear, & D. Leu (Eds.), Handbook of research on new literacies (pp. 1023–1036). New York, NY: Erlbaum. Giroux, H. (2004). Public pedagogies. Policy Futures in Education, 2(3/4), 404–503. Goldfarb, B. (2002). Visual pedagogy: Media cultures in and beyond the classroom. Durham, NC: Duke University Press. Green, C. S., & Bavelier, D. (2007). Action-video-game experience alters the spatial resolution of vision. Psychological Science, 18, 88–94. Jenkins, H. (2006). Fans, bloggers, and gamers: Exploring participatory culture. New York: New York University Press. Jenkins, H., & Fuller, M. (1995). Nintendo and new world travel writing: A dialogue. In S. Jones (Ed.), Cybersociety: Computer-mediated communication and community (pp. 57–72). Thousand Oaks, CA: Sage. Jermyn, D., & Holmes, S. (2006). The audience is dead; long live the audience: Interactivity, “telephilia” and the contemporary television audience. Critical Studies in Television, 1(1), 49–47. Johnson, S. (2006). Everything bad is good for you: How today’s popular culture is actually making us smarter. New York, NY: Penguin. Kimura, D. (1999). Sex and cognition. Cambridge, MA: MIT Press. Kincheloe, J. (2005) Getting beyond the facts: Teaching social studies/social sciences in the twenty-first century. New York, NY: Lang. Law, D. L., Pellegrino, J. W., & Hunt, E. B. (1993). Comparing the tortoise and the hare: Gender and experience in dynamic spatial reasoning tasks. Psychological Science, 49, 35–40. Lenhart, A., Kahne, J., Middaugh, E, Macgill, A., Evans, C., & Vitak, J. (2008, September 16). Teens, video games and civics. Pew Research Center. Retrieved October 22, 2010, from http://www.pewinternet.org/Reports/2008/Teens-Video-Games-and-

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Civics.aspxLingard, B., Ladwig, J., et al. (2001) Queensland School Reform Longitudinal study. Brisbane: Queensland Government Loewen, J. (1995). Lies my teacher told me: Everything your American history textbook got wrong. New York, NY: New Press. Meachan, J. (2012). Thomas Jefferson. New York: Random House. National Council for the Social Studies. (2013). Social studies for the next generations. Washington, DC: NCSS. No Child Left Behind Act. (2011). Retrieved from http://www2.ed.gov/nclb/landing.html Parker, W. (2009). Social studies in elementary education. Boston, MA: Allyn & Bacon. Ravitch, D. (2010, October 4). The obsession with testing is nuts. Huff Post Education. Retrieved from http://www.huffingtonpost.com/diane-ravitch/the-obsessionwithtestin_b_749512.html Rieber, L. (2001, December 9–12). Designing learning environments that excite serious play. Proceedings of the Annual Conference of the Australian Society for Computers in Learning in Tertiary Education (ASCILITE), Melbourne, Australia. Scupham, J. (1964). Broadcasting and education. London, England: BBC. Smelser, N., & Baltes, P. (Eds.). (2001). International encyclopedia of the social and behavioral sciences. Oxford, England: Pergamon Press. Spence, I., Yu, J., Feng, J., & Marshman, J. (2009). Women match men when learning a spatial skill. Journal of Experimental Psychology: Learning, Memory, and Cognition, 35(4), 1097–1103. Squire, K. (2008). Video-game literacy: A literacy of expertise. In J. Coiro, M. Knobel, C. Lankshear, & D. Leu (Eds.), Handbook of research on new literacies (pp. 635–669). New York, NY: Erlbaum. Terlecki, M. S., & Newcombe, N. S. (2005). How important is the digital divide? The relation of computer and videogame usage to gender differences in mental rotation ability. Sex Roles, 53, 433–441. Voyer, D., Voyer, S., & Bryden, M. P. (1995). Magnitude of sex differences in spatial abilities: A meta-analysis and consideration of critical variables. Psychological Bulletin, 117, 250–270. Walker, T. (2006). Adventures in Metropolis: Popular culture in social studies. In A. Segal, E. Heilman, & C. Cherryholmes (Eds.), Social studies—The next generation: Researching in the postmodern (pp. 171–187). New York, NY: Lang. Walker, T. (2010). The red pill: Social studies media texts, and literacies. Learning, Media, and Technology, 35(1), 1–14. White, C. (2003). True confessions: Popular culture, social efficacy and the struggle in schools. Kresskill, NJ: Hampton Press. White, C. (2011). Journeys in social education. Rotterdam, The Netherlands: Sense Publishers. White, C., & Walker, T. (2008). Tooning in: Essays on popular culture and education. New York, NY: Rowman and Littlefield.

CHAPTER 2

THE POP POTENTIAL Integrating Media and Popular Culture in Social Education

• What is the connection we seem to have with media and popular culture? • What are the roles of media and popular culture in society today? • Is there a connection between integrating media/popular culture and student motivation/interest? • What are examples of integrating media and popular culture in teaching and learning? A POP CONNECTION? Media and popular culture offer great potential for transforming social education. A strong argument can be made that media and popular culture are very influential among our students and in all of society, and many seem quite frustrated by this (Buckingham, 1998). Our society has made media and popular culture a cornerstone of cultural identity and we simply cannot ignore that fact. Television, movies, music, and other media often provide connections among our often disconnected citizenry. We still talk at the “water cooler” about recent pop phenomena; and thus, we owe it to our students to provide opportunities for critical analysis of Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 23–28. Copyright © 2016 by Information Age Publishing 23 All rights of reproduction in any form reserved.

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media and popular culture. Rather than blindly accepting the “Disneyfication” or “Simpsonizing” of our students and their lives, use these as teachable opportunities. Film, television, music, literature, and other forms of popular culture can provide rich opportunities for teaching and learning (Steinberg & Kincheloe, 1997). Media and popular culture can be used in a number of ways in education. Integrating media and popular culture for social education can enhance a critical and active citizenry who are able to think for themselves and engage in problem solving. The idea of providing voice and empowering students with meaningful, challenging, integrative, value-based and controversial, and active teaching and learning should be the goal (NCSS, 1994). And media and popular culture offer a natural integration; imagine the power of movies, television, music, literature, technology, and other media. What better way to enhance the idea of social education than to employ media and popular culture? Media and popular culture can facilitate opportunities for common dialog and understanding. If nothing else, popular culture often provides a context for connections to the world and sensemaking in the world. This dialog and common understanding in media and popular culture can be used to enhance social education (White, 2003). Again, despite the often negative view adults often have of various media and popular culture, there seems little today that we get excited over and that encourages social discourse more so than this culture. Allowing students to bring in their cultural choices as they investigate issues, make connections, construct knowledge, and engage in sensemaking may very well be a threat to the entrenched (Daspit & Weaver, 2000). Media literacy must be given its credit. It at least enabled the discourse and dialog to be taken seriously. Unfortunately, the media literacy movement often has taken the reactionary mindset to the extreme in assuming its purpose is to ensure the safety of our children. Critically investigating issues of violence, corporate agendas, democracy and citizenship, globalization, information as knowledge, and media and popular culture as historical fact should all be part when integrating media and popular culture in schools. To be sure, a goal of education should be to enhance critical analysis and problem-solving skills; and media and popular culture can be integrated to assist in meeting these goals (McLaren, Hammer, Reilly, & Sholle, 1995). An Opportunity Social studies and history education benefit from integrating alternative texts. A particular focus suggests that media and popular culture be used as alternative texts particularly for social education. These alternative texts provide an opportunity for the common understandings, dialog / communication, cultural identity, motivation and context / connections. Hopefully each of these will be addressed in future endeavors. In addition, issues that need addressing tied to integrating media and popular culture in teaching and learning include information transmission, media literacy,

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technology, globalization, coverage vs. depth, problem solving / inquiry, and moral panics. Again , the idea is to focus on critical inquiry in all areas of teaching and learning including curriculum, instruction, and assessment. Practical applications and specific examples of current media and popular culture will also be provided. In presenting application examples, the article will include a summary, critique, application ideas, extensions, and related resources. Where to Now? Social education can truly come alive for our students if we allow for the integration of media and popular culture. If we are truly interested in facilitating powerful approaches in social education, then we must begin to integrate longignored (and often demeaned) tools such as media and popular culture. What is important is creating a classroom atmosphere where students and teachers are empowered to question and critically analyze social studies issues and themes. Media and popular culture embodies a language of both critique and possibility; a language that allows students to locate themselves in history, find their own voices, and establish convictions and compassion necessary for democratic civic courage (Freire & Giroux, 1989). What better way to engage in critical inquiry and problem solving for social education than to use media and popular culture in our classrooms? Classroom Applications As stated previously, specific applications will be included in each installment. Following is a “template” of sorts for melding popular culture and learning centers. Popular Culture Centers The following generic centers can be integrated into units that use current films to address various themes in social education. Specific examples include integrating the films Hoot and Holes to investigate personal and social issues and integrating animated films such as Bee Movie, A Bug’s Life, Antz, and The Ant Bully looking at citizenship and efficacy issues. Rationale for the Project The rationale for the project is integrating media and popular culture and focusing on “powerful” teaching and learning (including active, challenging, meaningful, values-based, and integrative approaches) to enhance social studies. Use cooperative learning and centers as strategies to enhance student-centered social studies. The purpose of the centers is to model the integration of youth culture in social studies teaching and learning. Each of the 10 NCSS thematic strands is addressed in this project.

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Procedures Group students into 3–4 member teams and have them rotate through the centers and complete each task. Students should develop an individual portfolio of materials. When finished they should have evidence of work for each of the centers. They should also have a group portfolio. The group portfolio should include group sharing notes, group consensus activities, and other “grouped” ideas from each center. Assessment and Expectations Design individual content tasks to complete that will contribute to a group task for each center. Each student should keep a portfolio of individual work. Each person in the group should choose one of the following roles (timekeeper also takes the role of on-task manager if a group has only 3 members): • timekeeper: keeps group to negotiated time limit • reader and materials manager: reads tasks and ensures understanding organizes materials for each center, keeps group materials • recorder: takes group notes • on-task manager: ensures that members remain on task at all times Reading Have students read the book, scripts, or stories from the films (or read aloud). Initial strategies should include teacher read aloud and whole class focus activities. Reading centers may be set up for small group reading, book discussion groups, literacy sets, and comprehension and extension activities. Have students summarize, critique and apply ideas and issues from the book in the reading center. A reading reflection journal could be used. Music • • • • •

Students should individually choose a song, lyrics, or series of songs from the soundtrack. Listen to the song/s or read the lyrics. Have student compare songs using Venn diagrams or another method. Have students interpret and analyze the songs. What are the songs about? What important ideas, issues, and themes are presented? Choose a relevant current issue or theme. Brainstorm current songs to compare. Allow students to bring in related songs.

Film/Video • Watch the films or snippets from the films. • Have students take notes or choose the most interesting or important parts.

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• Have students summarize, critique, and apply the information. Students may write a letter to the editor, develop a newspaper, complete a journal entry, or write a review of the film as if they were historians. • Have students create their own scripts and/or videos on related topics or themes. • Have students compare the film with other films of interest. Literacy Connections • Have related primary sources and fiction available. • Have students read a related book. • Have students develop a comic strip, letter to the editor, reading reflection journal. • Students should present their projects creatively. Debate • In the groups, students should choose a controversial issue presented in the books/films (and other sources). Divide the group into opposing sides. • Students should develop a pro or con position paper according to the side assigned. • Students should engage in a debate and/or discussion regarding both sides of the issue. • Students should brainstorm positive and negative examples for both sides. • Have students complete a reflection paper or project. Technology • Have students explore the appropriate website and/or DVD extras. • Allow students to choose relevant areas to explore. • Students should keep a web journal of their exploration. Group Project • Groups should choose a theme/issue addressed in any or all of the films. • Students should develop a project similar to a “history fair” format on the theme as addressed in any or all of the films and applied to a current relevant topic or issue. • Possible projects include a skit/oral project, visual project, video project, or technology project (or a combination or other project as negotiated). • Projects will be completed in the center and presented to whole class.

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Extensions The online games and activities offer ideas for extending the unit. The video games for each of the films are rated “E” and thus could be integrated into unit extensions. REFERENCES Buckingham, D. (Ed.). (1998). Teaching media and popular culture. London, England: University College London Press. Daspit, T., & Weaver, J. (2000). Media and popular culture and critical pedagogy. New York, NY: Falmer Press. Freire, P., & Giroux, H. (1989). Pedagogy, media and popular culture, and public Life. In H. Giroux & R. Simon (Eds.), Media and popular culture: Schooling and everyday life. Granby, MA: Bergin & Garvey. McLaren, P., Hammer, R., Reilly, S., & Sholle, D. (1995). Rethinking media literacy: A critical pedagogy of representation. New York, NY: Lang. National Council for the Social Studies (NCSS). (1994). Expectations for excellence. Washington, DC: Author. Steinberg, S., & Kincheloe, J. (1997). Kinderculture: The corporate construction of childhood. Boulder, CO: Westview Press. White, C. (2003). True confessions: Popular culture, social efficacy and the struggle in schools. Kresskill, NJ: Hampton Press.

CHAPTER 3

CRITICAL MEDIA LITERACY

It has become quite popular to bemoan the loss of innocence in the youth of today and the role that popular culture has played in its demise. Society today is facing some very serious and complicated problems, and it becomes very easy to lay the blame for our societal ills at the foot of a group of activities that is the major source of entertainment and communication for today’s youth. Unfortunately, this is overly simplistic, and devaluing the interests of today’s children runs the risk of further alienating our younger generations. This chapter seeks to provide a brief description of the relationship between today’s youth, popular culture, and society; provide a case for the importance of diversity in the varying forms of popular culture; and suggest how effective media literacy programs can prepare today’s youth to actively create more diverse and representational content in popular culture. Youth, Society, and Popular Culture: An Oppositional Relationship Popular culture is a reflection of the masses. It is a basic commonality that ties people together. The stories of popular culture were once told by wandering minstrels, around campfires, and were passed down from generation to generation by the tribal or family elders. With the advent of silent movies in the ’20s, radio in the ’40s, rock ’n‘ roll in the ’50s, television, and now the Internet, the mode Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 29–35. Copyright © 2016 by Information Age Publishing 29 All rights of reproduction in any form reserved.

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of popular culture and storytelling has changed. As the means of popular culture changed there were those who remained nostalgic for the past, who remembered fondly their youth and wanted to re-create it for their children. As adults they try to restore the popular culture that was familiar to them and as a result the popular culture created by the next generation sometimes becomes a source of fear and concern; the cultural gap, in fact, is a generation gap (McDonnell, 1994). The content of the debate over the value and lasting effects of the different modalities of popular culture has changed little over the last 100 years. As was true with new modalities of popular culture in the past, in some settings, it is the mark of a literate and cultured person to criticize television and other forms of popular media. What are viewed now as the very benign series of the Nancy Drew and the Hardy Boys were a source of concern and debate in the middle part of the 20th century for their ability to confuse fantasy with reality, cause children to question authority, and encourage children to abandoned real literature (McDonnell, 1994). This concern seems to reflect a belief that childhood is primarily a preparation and training for adulthood and as a result much of what is kids’ popular culture would serve little benefit. This presumes that all children’s pursuits should have some elevated purpose a standard that adults do not apply to their own entertainment. Popular culture represents an opportunity for children to have fun and express themselves. The popularity of Robert Munsch’s books, anime, and The Simpsons television show reflects a need for children to exert control and power (McDonnell, 1994). Through these characters and stories children are able to express anger and rebelliousness that they are not regularly able to reveal. There is a growing concern that the dismissal and denunciation of youth popular culture is symptomatic of a societal pessimism toward the future that is projected onto youth, and as a result schools resemble prisons and youth are something to fear; in fact youth have “no standing in the public sphere” (Giroux, 2003). For decades a debate has raged on the effect of the increasing violence in television, movies, and video games. Integral to these debates is also the question of what constitutes a violent act. There is often no distinction made between incidents in comedies, dramas, cartoons, and live action. While exposure to episodes of violence in modes of popular culture may appear to be an obvious source of rising violence in our society, it is an explanation that denies the complexity of the social ills of our times. Children with more aggressive behavior (and therefore more prone to violence) come from families where the parents are very authoritarian, use physical punishment, have heavy television viewing habits, and the children are less able to fantasy play. Research also indicates that children who are able to use fantasy play to assimilate the experiences that they are exposed to are less likely to become violent. Another concern of adults is that children will become desensitized to violence, and the research seems to indicate that children in fact become desensitized to television violence, which they understand is not real (McDonnell, 1994).

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Much has been written on the negative effects of the isolating, solitary qualities of the modes of popular culture and their use. Societal changes of the last 25 years have created a generation of teenagers who feel isolated and lacking in a sense of community. Technology and television fill in that void and become their chosen method of communication and information about the world. John Katz, an author and media critic quoted in an article for Educational Leadership, said that “technology is youth culture” (Tell, 1999). Students now do not view technology as a set of skills to be acquired to perform tasks or perfected for future work. Technology is how they communicate. McDonnell said it best when she suggested that “we do more than just censor and rage . . . We must understand and embrace the wild, anarchic character” of kids’ popular culture (1994, p. 20). In an increasingly fragmented, technology-driven world, popular culture teaches us how to survive; unfortunately, it is at a high cost—consumerism (McDonnell, 1994). It cannot be denied that popular culture contains negative messages embedded within about the dominance of males and Western European ideas. While popular culture is part of the reality of the masses, it is important to remember that it is individuals who are taking in the messages and creating meaning. Popular culture can potentially serve the important function of providing a forum for the development of critical media literacy in our students and by recognizing the political, social, and cultural aspects of media literacy, a true multiculturalism built on alliances, “freedom, liberation, democracy and critical citizenship” could exist in our schools (McLaren, 1995, p. 107). The Importance of Diversity in Popular Culture to Promote Inclusion Media brings the world into our homes. From them, we learn about war and peace, the environment, new scientific discoveries, and so on. We are dependent upon mass communication for knowing what is going on in our physical, social, economic, and political environments. In other words, almost everything we know about people, places, and events, which we cannot visit first-hand, comes from the media. We also rely on media for entertainment and pleasure. Television and film have become the storytellers of our generation: these stories tell us about who we are, what we believe, and what we want to be. (Media Smarts, 2016)

Since it is clear that students are learning about the world and themselves through media, the issues of diversity and how well what they see represents themselves becomes important. Children have also identified the importance of seeing diversity in programming; children felt that diverse television programming (Bryant & Zillman, 2003) • Tells children that people of their race are important (84%); • Makes children of that race feel included (81%); and • Provides role models (78%).

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Most developmental theories tell us that children learn about themselves and others simply by observing those around them. This learning takes place in the context of their personal needs, interests, skills, and inducements. So time spent in front of the television becomes a significant learning activity (Bryant & Zillman, 2003). When stereotypical images like the Hispanic maid, the African American housekeeper, or uneducated immigrant are all that is seen, the effect on an individual’s self image can be very negative. In light of the proliferation of American media both here and abroad, the content of the program becomes a global concern. The depiction of different cultures and peoples as well as the roles they play within the shows represents to the viewer an attitude toward a people. In this way, American television tells the people of the world what we think of them. In order to clarify ideas on multiculturalism, it might be helpful to identify three common attitudes. I found the distinctions made by McLaren (1995) very useful. He identifies three major attitudes towards multiculturalism. First, conservative multiculturalism is described best in terms of colonial attitudes, manifest destiny, imperialism, and the portrayal of non-White Europeans as slaves or servants. Languages and dialect are deemphasized in a push toward a common culture. Unsuccessful minorities result from cultural deprivation or a lack of family and values. To be White is not an ethnicity but the standard. Second, liberal multiculturalists feel that a cognitive and social equality exists between the races, but a current lack of educational and social opportunity has created a situation of inequality. While this position holds the promise of reform, it tends to quickly becomes ethnocentric and centered on Anglo-American norms. Third, the left liberal view of multiculturalism is all about defining difference. To gain credibility within society one must be closely aligned with an “oppressed” people. Difference becomes significant in that it creates an identity. From this perspective there “exists an authentic female or African American or Latino experience” (McLaren, 1995, p. 97). The problem with all three of these perspectives is that there remains a dominant social order and that ideas of either sameness (conservative or liberal) or difference (left-liberal) define individual identities (McLaren, 1995). Instead, what is needed is what can be defined as critical and resistance multiculturalism, a term that is borrowed from McLaren (1995), but its elements can also be found in the works of Giroux (1997), Loewen (1995), Percoco (2001), and Spring (2004). Critical and resistance multiculturalism is centered on the idea that diversity should be acknowledged and that conflicts build cultures and democracies. By acknowledging differences we can better understand the history, culture, power, and ideology which produced them. It is away from the old ideas and toward this new attitude concerning multiculturalism that educators should direct students. Furthermore, if this new attitude is not incorporated into the major source of news and entertainment for young people then it becomes a schoolhouse exercise, one that has no relevance in the culture in which students live.

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Media Literacy: Teaching Students to Actively Pursue Diversity in Media Information is the “black gold” of this generation and many people do not know where they “are going on the information highway . . . they just live life on the road” (Barber, 1996, p. 101). The Internet, along with television and movies, is making an increasing amount of information available at a rate that exponentially increases in both quantity and speed. With youth’s growing reliance on all types of media for communication, it becomes the concern of educators to teach students to be aware of the messages they view everyday. Time magazine made “You” its person of the year in 2006, what with YouTube, MySpace, and other sites so popular among youth, in particular. Nevertheless, it is not enough to merely understand and analyze the information presented students should also be empowered to affect change. A critical media literacy practice can be used to transform the messages sent through the media to support an emancipatory democracy, one that reflects a critical and resistant multiculturalism. Barber (1996) notes that television is Americanizing the world at an alarmingly fast rate; he makes the observation that while churches remain unique to a region, movie theaters are surprisingly similar throughout the world. It is with some sarcasm that he quotes Bill Roedy, European Director of MTV, who gives partial credit to MTV for the democratization of East Germany as it allowed a more “free flow of information and expression,” which opened a “window on the rest of the world” (Barber, 1996, p. 108). While there is no way to prove or disprove Roedy’s claim, any culture that increasingly relies on instant pictures and short news blurbs puts into jeopardy deliberative, democratic debate and discussion (Barber, 1996). In a world where one picture can produce or change governmental policy, it becomes crucial to teach and remind students of the importance of public debate and deliberate decision-making despite the tendency toward fast-paced reactionary attitudes. In the past, media literacy has focused on two basic skills bases. One is in the area of cognitive thinking skills. Media literacy programs designed with this framework in mind taught students to scrutinize and observe media—programs are viewed and then discussed with the goal of finding meaning. The student remains largely passive in this context (Sholle & Denski, 1995). One example of an approach like this is the outline offered by Media Smarts (2016). 1. 2. 3.

Help students become aware of and manage their television “diet.” Learn skills to become critical viewers of television. Teach students to explore the deeper issues, like who benefits from the media, who is excluded and why..

A second area of focus for media literacy programs is in the area of visual skills. Students are taught to view programs with a discriminating eye. They are able to distinguish good and bad programming as well as to judge political correctness (Sholle & Denski, 1995). A third much more powerful course is a critical media

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literacy approach, which is advocated by Sholle and Denski (1995), McLaren (1995), and Giroux (1997) and acknowledges a complex political, social, and cultural practice. It seeks to cause debate and discussion. By its very nature it concerns itself with culture and power. By using a critical media literacy approach we can build powerful learners and citizens who are able to ask the critical questions needed to understand the information presented to them. These authors identify three important components of a highly effective critical media literacy program: 1. 2. 3.

Students should examine media presentations for hidden meanings. Students should critically examine their reasons for choosing the media that they do. Students should engage in reading, writing and active transformation of the system. Students should see that the future holds opportunities for expression and unity.

Barber (1996) echoes this sentiment when he suggests that we use the media for more civic interests and subjects. The current trends toward a vertical and horizontal integration of the print media, movies, and television put at risk the public conversations he supports. While popular culture provides a foundation for student’s experiences, it should not be criticized nor accepted without criticism (Sholle & Denski, 1995). Through the process of implementing the language and activities of critical media literacy, students can transform their preferred modes of entertainment and communication to better reflect themselves and those around them. Through this forum students can begin to build hope for the future. As the media reflects those who view it in a more accurate and balanced way, then discussions on citizenship, democracy, and justice are more likely to be productive. Giroux (2003) is not alone in his fear that today’s youth is being disenfranchised—a process of critical media literacy can stop that progression. A more diverse media will build community and allow all of us to actively affect much-needed social change. REFERENCES Barber, B. R. (1996). Jihad vs. McWorld: How globalism and tribalism are reshaping the world. New York, NY: Ballantine Books. Bryant, J., & Zillman, D. (2003). Media effects. New York: Lawrence Erlbaum. Giroux, H. A. (1997). Is there a place for cultural studies in colleges of education? In H. A. Giroux & P. Shannon (Eds.), Educational and cultural studies towards a performative practice (pp. 231–247). New York, NY: Routledge. Giroux, H. A. (2003). The abandoned generation democracy beyond the culture of fear. New York, NY: Palgrave Macmillian. Loewen, J. W. (1995). Lies my teacher told me: Everything your American history textbook got wrong. New York, NY: Simon & Schuster. McDonnell, K. (1994). Kid culture: Children & adults & popular culture. Toronto, Ontario, Canada : Second Story Press.

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McLaren, P. (1995) White terror and oppositional agency: Towards a critical multiculturalism. In P. McLaren, R. Hammer, D. Sholle, & S. Reilley (Eds.), Rethinking media literacy:A critical pedagogy of representation (pp 87–124). New York, NY: Lang. Media Smart. (2016). Digital media literacy fundamentals. Retrieved from http://mediasmarts.ca Percoco, J. A. (2001). Divided we stand teaching about conflict in U.S. history. Portsmouth, NH: Heinemann. Sholle, D., & Denski, S. (1995) Critical media literacy: Reading, remapping and rewriting. In P. McLaren, R. Hammer, D. Sholle, & S. Reilley (Eds.), Rethinking media literacy:A critical pedagogy of representation (pp 6–31). New York, NY: Lang. Spring, J. (2004). Deculturalization and the struggle for equality. New York, NY: McGraw-Hill. Tell, C. (1999, December). Generation what? Connecting with today’s youth. ASCD. Retrieved from http://www.ascd.org/publications/educational-leadership/dec99/vol57/ num04/Generation-What%C2%A2-Connecting-with-Today’s-Youth.aspx

CHAPTER 4

DIGITAL CITIZENSHIP Integrating Civic and Social Media for Active Citizenship

The pervasiveness of digital technology changes the whole equation for education. —Robinson (2011) What is digital citizenship? What are the rights and responsibilities regarding the use of technologies such as civic and social media? How do we balance and facilitate knowledge, skills, and dispositions in the social studies with the idea of digital citizenship? How might this play out in social studies classrooms? Technology is now a vital appendage for our students—and for us. Whether it is a smartphone, tablet, laptop, or some nonmobile device, the ubiquitous nature of technology has our students increasingly dependent on such tools on a daily basis. And older generations, while albeit a bit slower to adapt, are increasingly there as well. These technologies and the information access available through the Internet are truly revolutionizing our world on a daily basis. Life skills for the 21st century necessitate technology skills, and many of our students are digital natives—or will be soon (Jackson, 2011). Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 37–42. Copyright © 2016 by Information Age Publishing 37 All rights of reproduction in any form reserved.

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Technology applications for education have developed at incredible speeds, as the Internet for mass use is merely 20 years old. Incredible innovations and changes occur almost daily in devices and applications, and schools are ripe for their integration. For example, it amazed me to hear fairly recently that one smartphone has more computing capacity than was used to send humans to the moon. We hear constantly of innovation in teaching and learning facilitated through technology. The devices themselves are one thing, but social media and Web 2.0 tools also allow for incredibly creative applications. Twitter, Facebook, Linkedin, and Blogster are only a few of the most popular sites in the United States, but there are many sites that have a particular thematic focus. Individual regions of the world and many countries also have specific social networking sites. Google and Yahoo have become much more than mere search engines. In addition, people around the world are choosing sites such as Reddit or Digg for news and general information rather than even traditional media such as print, television, or even older sites such as CNN. Devices for “edutainment,” such as smartphones, laptops, and tablets, all have numerous apps that have any number of uses and tap any number of interests for gaming, learning, information, and communication. Apple recently claimed that the 50 billionth app has recently been downloaded! People are increasingly choosing to download movies and television shows on these devices rather than going to the movies or using traditional televisions. Entertainment and communication are being revolutionized daily. All of these have incredible potential for facilitating civic engagement as we see almost daily with audio and video and uploads, twitter announcements, and various information feeds. Their impact on social and political events is demonstrated many ways through recent events around the world such as the Boston Marathon bombings, Syria, terrorist bombings, or Cuba. Likewise, the effect on teaching and learning is limitless. Fortunately, more and more examples, models, and case studies are emerging that demonstrate this. Kessler (2010) lists six reasons why we should be embracing social media in our classrooms: 1. 2. 3. 4. 5. 6.

Social media is not going away. When students are engaged, they learn better. Social media tools are available and are free. It promotes social and civic education (digital citizenship). It encourages creativity, investigation, and collaboration. Technology tools and devices are not the enemy.

Many schools are increasingly moving toward an environment wherein students at some point receive a laptop or tablet device of some sort. The potential is great, but we must be aware of many issues associated with such a transformation. We can’t allow these tools to be just electronic textbooks and worksheets. Issues of media literacy are evident in our students’ lives daily, what with advertising, branding, bias, perspectives, censorship, and amount of information. Issues of

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teaching and learning must also be addressed, and this is where a student-centered approach (at all levels of schooling) best suits our students’ needs. Regardless, educational institutions seem very slow in recognizing the possibilities for digital citizenship. Schools are often criticized for moving quickly to the “next new thing” in education, particularly with regard to technology. Nevertheless, a merging of citizenship skills and new technologies for the 21st century might better enhance teaching and learning altogether. Focusing on civic and media literacy and the concepts of rights, responsibility, and respect should be major themes in all our social studies classrooms. All of this is quite complex, and frankly administrators, teachers, and parents are often reactionary when dealing with technology. That is where the concept of digital citizenship or civic media comes in. The bottom line is that media/technology should be integrated to promote the 5 C’s—common good, community, collaboration/cooperation, conflict resolution, and context/connections. If the 5 C’s are not present, then there really is little digital citizenship. Social studies have long focused on content knowledge often at the expense of skills and dispositions development. While knowledge, skills, and dispositions are listed in any group of social studies standards, it is generally assumed that citizenship skills are somehow acquired through the schooling process and especially through the learning of social studies content. What digital citizenship/civic media promotes is just that—the 5 C’s through a digital framework—one that our students are increasingly intrinsically motivated toward. Not only are these skills enhanced through the use of civic and social media, but it also expands the contextual framework of history, geography, culture, and other social studies (Nebel, Jamison & Bennett, 2009). The ongoing issue is not whether educators should integrate social media for digital citizenship, but rather which ones should they use. Wikipedia has a list of social networking sites, some of which have excellent teaching and learning possibilities (http://en.wikipedia.org/wiki/List_of_social_networking_websites). The Glogster EDU team (http://blog.edu.glogster.com/2013/02/18/which-socialnetworks-should-teachers-use-edutech-monday/) suggests that there are three key functions of social media for teaching and learning: connecting, exploring, and curating. Although there are numerous sites that enhance connections, collaboration and communication can be enhanced though sites such as Twitter, Edmodo, Tioki, and Linkedin. Sample sites for exploring include Mashable, Stumbleupon, Delicious, Digg, Reddit, and general search engines. Curation is facilitated through sites such as Glogster, Voice Thread, Flickr, YouTube, Vimeo, Delicious, and Pinterest. The bottom line is that the social studies classroom should be about rights and responsibilities as global citizens in the 21st century, regardless of whether one is exploring history, government, culture, geography, or economics. Digital citizenship through the use of social and civic media is a vital part of this endeavor. We

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as educators must be open to this transformative technology revolution, as we owe it to our students and to society. Possible Themes in Teaching Digital Citizenship • • • • • • • • • • • • •

Social Media YouTube Web 2.0 Technology Devices Online Engagement and Cyberbullying Censorship Privacy Copyright Rights and Responsibilities Bias and Perspectives Consumerism, Advertising, Branding Media Literacy History of Innovation and Technology

Sample Unit/Applications (Adapted from Sharon Hayes. The actual detailed plan is found at this site http://www.digitalwish.com/dw/digitalwish/view_lesson_plans?id=4875.) Day 1: Teacher introduces concept of digital citizenship by sharing essential questions (What does it mean to be a digital citizen? What are our rights and responsibilities as digital citizens?) and linking to citizenship TEKS and first page of digital citizenship wiki or social media site, sharing ideas presented and YouTube video. Teacher gives overview of wiki project by briefly showing pages that include cartoon and video—products that students will later create (see lists of videos and websites below). Days 2–3: Students create Personal learning Network (PLN) student project plans using based on teacher model. Students reflect on their PLN at this time (Word document, podcast, or movie using smart phone cameras and appropriate editing software, or other method of student choice). Teacher explains that unit will give students time to expand their PLN by playing with Web 2.0 tools and exploring century 21 teaching and learning skills. PLN documents how students collect, connect, collaborate, etc. Students will create this document as a prelearning activity and document their learning and use of 21st century tools throughout the unit, as a culminating activity and then pledge to modify the document throughout Folsom years and beyond. Days 4–6: Teacher introduces wiki/social media project, using wiki/social media pages as examples. Explains how each piece is REAL—using Alan November’s webpage evaluation tool. Explains SOURCES page and encourages stu-

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dents to add to page after evaluating webpages. Students begin to plan for wiki page. (http://www.teachertube.com/viewVideo.php?video_id=189809) Days 7–8: In teams, students read, watch, listen and research using Web 2.0 tools to learn about nine aspects of digital citizenship (literacy, access, rights & responsibilities, commerce, law, communications, health & wellness, etiquette and security)—or the 5 C’s as listed above. Days 9–12: Teacher models video on Google Sounds or other Web 2.0 tool. Students work collaboratively to produce a video or digital story on a Google application or another tech tool of their choice. Days 13–16: Teacher shares podcast from wiki/social media page. Individual students either select podcast that relates to purpose, read news article to create podcast, or create original related podcast of their own. Students self-assess podcasts using Kathy Schrock’s checklist. (http://www.schrockguide.net/) Day 17: Each student creates a cartoon or other presentation with Glogster or student choice to show understanding of an issue concerning digital citizenship. Days 18–20: Students work collaboratively to produce wiki/social networking page or Web 2.0 application to demonstrate understanding of an aspect of digital citizenship. Days 21–22: Student teams draft school Bill of Rights for Digital Citizenship and participate in debate to decide which aspects of each team’s documents should be included in a final document to be presented to interested parties (students, teachers, administrators, parents). Day 23: Students share wiki/social networking pages, Google application videos, and other creations with peers in whole-class discussion about “What it means to be a digital citizen” and the “Rights and responsibilities of digital citizens.” Invite (students, teachers, administrators, parents) for unveiling of school’s Bill of Rights for Digital Citizenship. Days 24–27: Students visit 5–6 classrooms to share as groups their wiki/social networking pages or other Web 2.0 projects with teams of 5–6 students. Social Networks for Educators • • • • • • • • • • •

Classroom 2.0 Edutopia Teachers 2.0 Teachers.net Digital Citizenship edWeb.net iTeach Tapped in The Teacher Collaborative Sophia The 21st Century teacher

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Websites • Digital Citizenship: http://www.digitalcitizenship.net/ • Center for Civic Media: http://civic.mit.edu/about • http://civic.mit.edu/blog/erhardt/ethan-zuckermans-dml-keynote-beyond“the-crisis-in-civics” • Global Civic Media: http://globalcivicmedia.com/ • UNICEF—Social and Civic Media: http://www.slideshare.net/socialandcivic • What is Civic Media?: http://henryjenkins.org/2007/10/what_is_civic_media_1.html • What is Social Media?: http://webtrends.about.com/od/web20/a/socialmedia.htm • Global Citizen Corps • Your Students Love Social Media . . . : http://www.tolerance.org/magazine/ number-39-spring-2011/feature/your-students-love-social-media-and-socan-you/ Video • • • • •

Power of Civic Media—TED Talk (video): http://tedxtalks.ted.com/video/ The-Power-of-Civic-Media-Mark-T What is Civic Media?(video): http://ttv.mit.edu/videos/16248-what-is-civic-media Why Teach Digital Citizenship? (video) Citizens Civic Mission of Schools (video): http://www.civicmissionofschools.org/videos You Tube Digital Citizenship Channel: http://www.youtube.com/watch?v= vXw55E2JbPE&list=PL87E45A5922F0243F REFERENCES

Jackson, C. (2011, Spring). Your students love social media . . . and so can you. Teaching Tolerance, 39. Retrieved from http://www.tolerance.org/magazine/number39-spring-2011/feature/your-students-love-social-media-and-so-can-you Kessler, S. (2010). The case for social media in schools. Mashable. Retrieved from http:// mashable.com/2010/09/29/social-media-in-school/ Nebel, M., Jamison, B., & Bennett, L. (2009). Students as digital citizens on Web 2.0. Social Studies and the Young learner, 21(4). Robinson, K. (2011). Out of our minds: Learning to be creative. London, England: Capstone.

CHAPTER 5

THE TIDE CONTINUES TO RISE Social Studies Through Sports Movies Cameron White

The one constant through all the years, Ray, has been baseball. America has rolled by like an army of steamrollers. It’s been erased like a blackboard, rebuilt, and erased again. But baseball has marked the time. This field, this game, is a part of our past, Ray. It reminds us of all that once was good, and that could be again. Oh, people will come, Ray. People will most definitely come. —Terrence Mann (James Earl Jones) in “Field of Dreams” INTRODUCTION Sports are a dominant institution in American society. Just look at the impact of the Super Bowl, World Series, World Cup, college bowl games, and the Final Four, for example. Sports in history, sports in politics and economics, and sports in social / cultural contexts are all vital components of our culture. What did you think of the Super Bowl? Did you see that play? What are your favorite sports? Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 43–51 Copyright © 2016 by Information Age Publishing 43 All rights of reproduction in any form reserved.

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What are your favorite sports movies and why? These or questions like them are all common in daily American life. Few institutions in the U. S. impact and reflect American society better than sports. And sports can be a powerful text for investigating social studies, history and social issues. There are a great many engaging lessons regarding sports as a theme in the social studies, but perhaps investigating sports itself as a microcosm of Americana is the most powerful. And using movies or movie clips / trailers as an accompanying text provides the context and connections so often missing in our classrooms. Social studies and history education needs to allow for alternative texts and themes in teaching and learning. Investigating sports through economic, social / cultural, political, or environmental themes linked to chronology or topics in social studies or history again allows for possible context and connections often difficult to find with more traditional approaches. And using movies, TV, music and other popular culture texts facilitate those possibilities even more. ISSUES AND THEMES A number of issues and themes can be addressed using sports movies. The obvious is to use film as a refection of the times or about a particular time. Using sports film to explore 20th century America can be very powerful as it truly reflects the growth and wealth of the country. One can look at social justice issues such as race, ethnicity, gender, and poverty through sports as well. Other issues might include violence, inspiration, winners and losers, ethics, integrity, and heroes. Social studies and history education can truly enhance important skills such as critical thinking, problem solving, questioning, and other life skills. Integrating an issues and theme-based approach using alternative texts such as movies and clips adds yet another dimension providing needed context and connections our students need. Sites such as Teach with Movies, You Tube, and IMDB offer excellent resources for the classroom. There are many examples of sports films that deal with societal issues. Concussion is a recent example that has numerous possibilities for the classroom http:// www.imdb.com/title/tt3322364/. The official movie site also had information http://www.sonypictures.com/movies/concussion/. Wikipedia has a good writup of the film with several links to resources for additional information. https:// en.wikipedia.org/wiki/Concussion_%282015_film%29. The film is a powerful portrayal of the concussion issue in football and the social justice themes tied to money, fame, health, and the “religion” of football. BASEBALL AS AMERICA While football is wildly popular to the point of frenzy, baseball still is “America’s pastime.” The game is truly a metaphor for American ideals, but also its issues.

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It’s history regarding race and wealth mirrors our country’s struggles with both since the late 1880s. Henry Giroux once said Ken Burns is our most powerful educator when it comes to history (2002). While that make be a bit problematic, his documentary series Baseball is truly beyond compare (along with the soundtrack and companion books that go along with it). Clips from the documentary really do offer a history of the U. S. from the last 150 years. Films such as Field of Dreams, Eight Men Out, A League of Their Own, Major League, The Rookie, The Natural, Bang the Drum Slowly, Pride of the Yankees, Bad News Bears, and The Sandlot and Bull Durham offer grand snippets of American history. Each has unique themes and issues presented that reflect America. Using one film trailer or clip or comparing using several can provide glimpses into the times. CONCLUSION Much has been written about sports in the U. S. Allowing for the linkages between sports, popular culture, social studies and teaching / learning offer much for the social studies / history classroom. Classic American historical themes and issues are not only presented in history texts, but also through popular institutions such as sports (music, movies, literature, art, can also be grand topics for investigating social studies and history. Sports is everywhere in our society, from the high schools of Friday Night Lights to the young kinds in the Bad News Bears, to adults, business and the professionals of Concussion. Competition, winners and losers, rights and responsibilities, and developing life skills all come with sports. They also come through engaged social studies and history education. SAMPLE LESSON—INTRODUCTION 1. 2.

3.

Begin by asking “what are some of your favorite sports movies and why? What themes or issues do they portray? Show a clip from a popular / recent sport film or a montage from YouTube such as Best Sports Films—https://www.youtube.com/ watch?v=MNqvQLInIA4 Divide student into groups to explore themed centers. Have students watch their montage and address questions such as: what are the themes /issues addressed. Are there other films that might fit? How does the montage reflect society or the topic of class? Share with others groups. Sports Montages for Centers Comedies https://www.youtube.com/watch?v=uxsNjrNJoT4

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Speeches https://www.youtube.com/watch?v=qg8j87S2lZs Serious Moments https://www.youtube.com/watch?v=M3D7QsasRSk Clichés https://www.youtube.com/watch?v=AbvRuPLewTo Best Moments https://www.youtube.com/watch?v=xGruBK9XDWw Showdowns https://www.youtube.com/watch?v=LxQgOjoQb9E Best Documentaries http://www.complex.com/sports/2014/07/the-25-greatest-sports-documentaries-of-all-time/ 4. 5.

6. 7.

Integrate other texts that support the theme of the sports movies used (music, tv, books). Individually or in small groups choose a sports movie or movies that reflects a particular class theme. Develop a short activity using clips or trailers from the film or films. Allow students to investigate various sports of their choosing (individually or in groups) to make links to social issues or history themes. Synthesis—Use the links to watch a sports documentary of interest. What role might documentaries play in learning? Complete a movie review sheet. REFERENCES

Didinger, R., & Macnow, G. (2009). The ultimate book of sports movies. Philadelphia, PA: Running Press. Giroux, H. (2002). Breaking into the movies. New York, NY: Wiley Blackwell. Hill, M. (2010). Top life lessons from great sports movies. Sports Networker. Retrieved from http://www.sportsnetworker.com/2010/04/16/top-6-life-lessons-from-greatsports-films/ Williams, R. (2006). Sports cinema. Pompton Plains, NJ: Limelight Editions. Zirin, D. (2009). A people’s history of sports in the U. S. New York, NY: The New Press.

Sports in Movies http://www.sportsinmovies.com/

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Best Sports Films http://www.moviefone.com/2014/04/20/best-sports-movies/ http://bleacherreport.com/articles/1942431-the-101-greatest-sports-moviesof-all-time http://www.sportsinmovies.com/best-movies/best-sports-movies.asp General Sites https://en.wikipedia.org/wiki/List_of_sports_films http://www.rottentomatoes.com/top/bestofrt/top_100_sports__fitness_movies/ http://www.imdb.com/genre/sport YouTube https://www.youtube.com/results?search_query=sports+movies Teach with Movies http://www.teachwithmovies.org/sports-games-subject-list.htm Dave Zirin https://search.yahoo.com/yhs/search?p=dave+zirin&ei=UTF8&hspart=mozilla&hsimp=yhs-003 Sports Quotes http://bleacherreport.com/articles/395972-the-25-greatest-sports-moviequotes-of-all-time-with-video Sports Montages Comedies https://www.youtube.com/watch?v=uxsNjrNJoT4 Speeches https://www.youtube.com/watch?v=qg8j87S2lZs Serious Moments https://www.youtube.com/watch?v=M3D7QsasRSk Clichés https://www.youtube.com/watch?v=AbvRuPLewTo

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Best Moments https://www.youtube.com/watch?v=xGruBK9XDWw Showdowns https://www.youtube.com/watch?v=LxQgOjoQb9E Best Documentaries http://www.complex.com/sports/2014/07/the-25-greatest-sports-documentaries-of-all-time/ Best Sports Movies https://www.youtube.com/watch?v=MNqvQLInIA4 Film Sites Best Documentaries http://www.timeout.com/newyork/film/the-50-best-documentaries-of-alltime-documentary http://www.pastemagazine.com/articles/2015/05/the-100-best-documentariesof-all-time.html?a=1 http://www.indiewire.com/article/11-controversial-documentaries-that-challenged-the-status-quo-20150329 http://www.lifehack.org/articles/lifestyle/50-best-documentaries-all-time-thatwill-change-your-life.html http://www.pbs.org/wgbh/americanexperience/films/ https://archive.org/details/FedFlix Watch Documentaries Online http://topdocumentaryfilms.com/ http://documentaryheaven.com/ http://documentaryaddict.com/ https://www.netflix.com/ http://www.pbs.org/video/ https://www.youtube.com/ https://app.curiositystream.com/ Best Movies http://www.ranker.com/crowdranked-list/the-best-movies-of-all-time http://www.rottentomatoes.com/top/ http://www.imdb.com/chart/top https://en.wikipedia.org/wiki/List_of_films_considered_the_best

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http://www.complex.com/pop-culture/2013/02/100-movies-to-see-beforeyou-die/ Trailers and Clips http://www.movie-list.com/ http://www.imdb.com/trailers http://www.traileraddict.com/ https://www.youtube.com/user/movieclips http://thecreatorsproject.vice.com/blog/10000-film-clips-now-available-forfree http://www.reelclassics.com/Gallery/video.htm Social Justice http://billmoyers.com/2014/12/22/social-issues-documentaries/ http://www.care2.com/news/member/887071505/2795519 http://www.onlineuniversities.com/blog/2011/05/15-fantastic-films-for-teaching-social-justice/ http://www.onlineuniversities.com/blog/2011/05/15-fantastic-films-for-teaching-social-justice/ http://www.one.org/international/blog/10-inspiring-films-on-social-changethat-you-need-to-see/ History http://www.one.org/international/blog/10-inspiring-films-on-social-changethat-you-need-to-see/ http://www.one.org/international/blog/10-inspiring-films-on-social-changethat-you-need-to-see/ http://filmschoolwtf.com/best-historical-movies/ http://www.flickchart.com/Charts.aspx?genre=Historical+Film&perpage=100 http://vernonjohns.org/snuffy1186/movies.html http://www.stfrancis.edu/content/historyinthemovies/index.htm Education http://bestonlineuniversities.com/2011/25-best-movies-about-education-evermade/ http://www.amazon.com/lm/R1A23V4LYYGF1J http://www.edutopia.org/blog/20-must-see-movies-educators-nicholasprovenzano http://degreecentral.com/blog/2010/10/25/great-movies-about-education/ http://www.edutopia.org/education-reform-documentaries http://www.npr.org/sections/ed/2014/12/05/368436884/what-the-moviestaught-us-about-teaching

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https://en.wikipedia.org/wiki/Educational_film Pop Culture in Film http://www.imdb.com/list/ls002272292/ History of Movies https://www.youtube.com/watch?v=Dh_1tZUUz08 https://www.youtube.com/watch?v=CNYBXKt6_dw https://www.youtube.com/watch?v=i2QGCcrPnNk https://www.youtube.com/watch?v=uKPXV_DxbCE Greatest Films https://www.youtube.com/watch?v=kHZ2h3FbR5k https://www.youtube.com/watch?v=kHZ2h3FbR5k Teach with Movies http://www.teachwithmovies.org/ http://journeysinfilm.org/for-educators/teaching-with-film/ http://learning.blogs.nytimes.com/teaching-topics/film-in-the-classroom/?_ r=0 http://www.heartlandfilm.org/wp-content/uploads/TeachingwithMoviesguide. pdf http://doingsocialstudies.com/2013/11/04/teaching-with-movies/ http://www.edutopia.org/blog/using-film-teach-analysis-skills-heather-wolpert-gawron http://www-tc.pbs.org/wgbh/masterpiece/teachers/guides/masterpiece_film_ in_the_classroom.pdf http://www.filmeducation.org/resources/primary/teaching_with_film/ http://www.teachingwithfilm.com/ https://www.educationfund.org/uploads/docs/Publications/Curriculum_ Ideas_Packets/Teaching%20Social%20Studies%20Through%20Film%20 %282009%29.pdf http://www.academia.edu/10007279/Using_feature_films_in_teaching_historical_understanding_Research_and_practice http://education.nationalgeographic.org/media/experiencing-film-classroomstrategies-engaging-learners/ Articles http://www.rethinkingschools.org/publication/rpcm/rpcm_intro.shtml http://historymatters.gmu.edu/mse/film/socialhist.html http://www.moviemaker.com/archives/print/spring-2014/can-movie-changeworld-activism-film-guide-social-issue-moviemakers/

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http://www.teachhub.com/using-movies-increase-student-learning http://uncw.edu/cte/et/articles/Vol12_1/Moskovich.html https://en.wikipedia.org/wiki/History_of_film http://files.eric.ed.gov/fulltext/ED342033.pdf

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CHAPTER 6

ENGAGING OUR KIDS! The Election, Citizenship, and New Technologies

Yea! Another presidential election! Doesn’t it now seem that the campaign just never stops? Are you noticing increasing cynicism this time around? How can we better engage our students with this so very basic democratic process? Truthfully, developing a connection between new technologies and the election process can be a way to get our kids excited! And this can be accomplished in grades 4 and up at least, and with adaptation for younger students! These new technologies offer great opportunities to facilitate participation and connecting with our young, thus enhancing engaged citizens. Perhaps more so than at any time in history, popular culture is directly affecting citizen participation and efficacy in the election process. Many think back to the Kennedy/Nixon debates as the beginning of television influence on elections what with the positive television personality of Kennedy clashing with the nervous personage of Nixon. Many also think back to Kennedy’s assassination or the Vietnam War, both very vibrantly telecast into our living rooms. Each of these events had great impact on subsequent elections. Have we changed that much? Much has been written through the years regarding media influence on society and elections. Many great lessons and units exist in teaching elections; students Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 53–59. Copyright © 2016 by Information Age Publishing 53 All rights of reproduction in any form reserved.

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have participated in campaigns and engaged in mock elections for decades. We are at a different time, however, as we see and hear daily in the media. The Internet and related new technologies are increasingly powerful tools during election times (Gueorguieva, 2007). New technologies (as popular culture) for teaching about the election process and facilitating active citizenship are the focus of this chapter. Increasingly, people (and our students particularly) are choosing the Internet, Internet-based technologies, and other new technologies for entertainment, information, and communication rather than more passive technologies like television and movies (compare the profit for popular new video games to new movies). This is definitely the case with this current election. Each candidate has welldeveloped and interactive websites. There are also thousands of sites devoted to voting, elections, political issues, and even the 2012 presidential election specifically. Education-related sites directly dealing with the same themes are also proliferating. Now is the time to integrate these and newer related technologies. Web 2.0 to the Rescue Web 2.0 and other “new” technologies (in addition to the thousands of interactive websites that exist) that have powerful possibilities for classroom integration include online video such as YouTube, virtual worlds such as Second Life, podcasts, blogs, wikispaces, social interaction sites, and other Web 2.0 applications. Perhaps one of the biggest issues is how to juggle and integrate these new technologies into meaningful teaching and learning. These technologies are the text/tool of choice by most of our students (even at the elementary level); they are quickly becoming a text of choice by older generations as well. As with all alternative texts or media, they offer great possibilities for student-centered learning. And as NCSS (2010) suggests, to ensure quality social studies, “powerful” approaches promote meaningful, integrative, challenging, active, and issues-based teaching and learning. New technologies offer just that potential. They are also facilitating active involvement in the process as many young people are posting their own videos, hosting their own blogs, and creating their own social networking sites, many tied directly to the current election. We know that all ages are engaging in a variety of ways with these new technologies. Candidates at all levels credit online video and other new technologies for much of their success. Many everyday citizens are establishing their own blogs, wikispaces, and websites tied to current social and political issues, and often tied directly to the upcoming election. Online video created by “normal” people as well as political campaigns themselves receive thousands and often millions of hits. We are living in a time that citizenship and democracy is facilitated through the web more than through the classroom or other institutions in out society. The hope, however, is that these new technologies can help democratize the classroom, enabling teachers and students more choice for critical investigation and doing social studies. A particular goal is to balance social and individual con-

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struction of knowledge. Integrating these into teaching the election process or political issues can only enhance these goals. Our students are already using new technologies themselves, outside of classrooms. Why not offer context and connection through theses new technologies by integrating them into our teaching? Viral Video? Perhaps nothing has stirred the electorate this time around more than online video such as YouTube. Viral video sites allow video to be uploaded and shared through the Internet. A recent article stated that “The revolution will not be televised. It will be YouTubed” (Jarvis, 2007). Immediate video from the campaign trail or political world is uploaded to the Internet almost on a minute-by-minute basis; and popular media also chimes in on their own websites. Internet video has become a medium of choice as it offers immediate access. Candidate announcements, speeches, parodies, viral videos, and immediate news snippets regarding the election are all found on YouTube. It also enables individual and group interaction as many are choosing to create their own election-related videos to upload. Teachers across the country are using Internet video as project choices; a quick topic related search in YouTube or Google Video will yield numerous student examples. A huge issue is the increased blanket censoring of Internet video sites such as YouTube in our schools. Not only is this a teachable issue, but options should be allowed for integrating and using such rich resources. Fortunately, there are ways to grab relevant video through various software such as SnagIt and YouTube Grabber. A great place to start for teaching elections is to search for “elections” or “U.S. elections” in YouTube. This site has videos on all the candidates, links to election news, political issues, recent relevant uploaded videos, and links to other related video channels, and should be updated as we get closer to the presidential election. The Living Room Candidate, Expert Voter, and PrezVid (see site list) are related sites that provide excellent context for the election. The Living Room Candidate looks at campaign commercials through the years as a means of comparison and to critically investigate media and elections. Expert Voter contains videos from candidates on numerous campaign issues, while PrezVid acts as a clearinghouse of sorts for election-related video in general. Possibilities for teaching using Internet video are truly endless, including using various videos as focus activities, comparison pieces, debate facilitators, and tools to analyze campaign strategies. More constructivist approaches might include student-created videos such as campaign ads, panel discussions, mock videos, and general presentations. Other Internet video sites like those mentioned above offer additional opportunities for creative applications and extensions for classroom applications, including media literacy and issue investigation. Many general election related sites are also out there, several of which have been used in classrooms during recent elections. Some of the best for teaching

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and learning are Project Vote Smart, Politics1, Democracy Network, and Election ProCon. Each of these sites offers very detailed election-related information on all sides of election issues. These sites can be the introductory sites for researching campaign issues and can provide ideas for more activist-oriented endeavors such as campaign volunteering and service learning projects. Mock elections are great ways to really get students actively involved in the classrooms. Examples of related site include National Mock Election and Youth Leadership Initiative. A Google search using mock elections yields many related links and articles for engaging in mock elections. Many individual schools and districts increasingly hold mock elections, particularly during the presidential campaigns. Perhaps some of the more potentially exciting new technologies for classroom use and which already have applications for teaching about the election are blogs, wikis, and podcasts. Blogs have proliferated at an amazing rate and many informative blogs can be found. Most search engines contain blog directories that can help in focusing to particular themes or topics. Sample links to the election or election issue blogs are Tech President and FairVote. Following the site provided that links to top political blogs provides access to most perspectives on political issues. Again, many teachers have established their own classroom blogs and also enable students to create their own for classroom reflection or project development. Wikispaces also have great potential for classroom use. They basically are dynamic websites that can be developed without the need for web development software or server space. They can include images and video, and are often used for discussion and interaction. Teachers have created classroom wikis to post student projects and improve classroom communities outside of face-to-face classroom time. Students are creating their own as classroom projects or extensions to classroom activities. Wikis are particularly good for collaborative projects. Podcasts are yet another technology that has grown in popularity. One need only Google “podcasts” to see the possibilities. ITunes has even established ITune University, where schools and universities have set up podcast courses—many that are free. Podcasts can be audio-only, but many are also video and can be accessed on the web and downloaded to MP3 video players. Audio-only podcasts require a computer and a microphone, whereas video podcasts require a video camera that can be connected to the computer. Once again, teachers are increasingly producing their own podcasts for follow-up, extension, and homework, to be accessed outside of class. Students’ creating their own podcasts has the most potential, however. Finally, virtual worlds such as Second Life are receiving great press and are also growing as tools for classrooms use. Most virtual world activities have been linked to gaming until recently, but businesses and colleges are now using them. Nevertheless, teachers and schools are creating virtual spaces within virtual worlds like Second Life for a number of reasons. Virtual classrooms engage

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students individually or collectively in teaching and learning activities. Simulations and role-playing activities tied to various social studies events and issues have been established. Virtual museums and field trips are also created in virtual worlds. CONCLUSIONS Democracy truly is being facilitated and lived via the Internet! The current election cycle is as exciting as any in recent memory and younger people are more involved and registering to vote in record numbers. We should take this opportunity and make a difference in our classrooms this time around. Rather than preaching about democracy and the need to vote, we can model through various classroom activities (Rigby, 2008). We still are at the point where constant debate is occurring regarding the influence of technology in our society and especially on the election process. We can nevertheless state emphatically that technology is influencing the campaign, if for no other reason than increased numbers are using new technologies. More and more people are choosing to use these “new” technologies to locate electionrelated information than ever before. Many are also choosing to create their own election related Web 2.0 sites than are truly democratic and interactive. Many students really take to these online environments. We know they take to computers and the Internet. If popular culture and media are truly texts and tools that can facilitate citizenship, democracy, and education, we should definitely include new technologies in the mix. Why not provide better context and connections through these new technologies? SAMPLE ACTIVITIES Show examples/snippets of various new technologies focusing on election topics/issues (campaign ads, editorials, etc). A good example can be found at http:// www.entrepeneur.com/article/248450. Discuss reactions to the examples. What do the students think about the role of technology in the upcoming election? Have students share their experiences with new technologies (think, pair, share). Engage is a class introductory debate on new technologies and education or new technologies and the election. Students can be placed in small groups to brainstorm ideas and issues on the topics chosen. Divide students into cooperative groups of 3 or 4 to complete the following centers. Center 1 Have computers available for each group (students should work in pairs within the groups, then share).

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Center 2 Have each group investigate the questions below or assign groups individual questions to investigate (students may come up with their own questions). Center 3 Have each group review various related websites / share new resources found (many online website review forms are available). Center 4 Have each group develop an election project using a new technology (campaign ad, editorial, panel discussion, minidocumentary, issue blog, podcast, etc.) Questions • What is the influence of technology and media on elections? • What can new technologies offer regarding elections? • What are the positives and negatives regarding new technologies and elections? • How do new technologies compare to other texts for learning about elections? • How can you compare issues, ideas, and candidates using new technologies? • What are the possibilities for creating election projects using new technologies? • Develop a class website using a web2.0 application to share student projects (this may be the project of one of the groups). Extensions Develop a survey to conduct on role of technology on elections. Conduct a class or school mock election (see related sites). Websites • • • • • • • • •

National Mock Election: http://www.nationalmockelection.org/ Kid Voting USA: http://www.kidsvotingusa.org/ Project Vote Smart: http://www.votesmart.org/ Democracy Network: thedemocraticnetwork.org/ 2016 Election ProCon: 2016election.procon.org/ Politics 1: http://www.politics1.com/index.htm Public Agenda Online: http://www.publicagenda.org/ Do Something.org: dosomething.org/US C-SPAN: http://www.c-span.org/

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Vote Help: http://votehelp.org/ Rock the Vote: http://www.rockthevote.com/ Living Room Candidate: livingroomcandidate.org Cyberbee: http://www.cyberbee.com/election/election.html Teacher Vision: http://www.teachervision.fen.com/elections/teacher-resources/6615.html Tech President: http://www.techpresident.com/ Blog Directories: http://directory.etalkinghead.com/ http://www.blogcatalog.com/directory/politics Fair Vote: http://www.fairvote.org/blog/ Wikispaces: http://www.wikispaces.com/ Political campaign/election movies: http://www.boxofficemojo.com/ genres/chart/?id=political-election.htm Film trailers/information: http://www.imdb.com/ REFERENCES

Gueorguieva, V. (2007, December). Voters, MySpace, and YouTube: The impact of alternative communication channels on the 2006 election cycle. Social Science Computer Review. doi:10.1177/0894439307305636 Jarvis, J. (2007, January 29). Guardian column: The YouTube campaign. Buzz Machine. Retrieved from http://buzzmachine.com/guardian-column-the-youtube-campaign/ NCSS. (2010). National curriculum standards for social studies. Washington, DC: Author. Rigby, B. (2008) Mobilizing generation 2.0: A practical guide to using Web 2.0 technologies to recruit, organize and engage youth. San Francisco, CA: Jossey-Bass.

CHAPTER 7

ASIA POP Investigating Asia with Media and Popular Culture Cameron White

We’d incorporated Asia into our bones—its colors and laughter, its smells, its rhythms, its tolerance and patience, its compassion... —Jane Wilson-Howarth A Glimpse of Eternal Snows When given the chance to see Asia off the beaten track, definitely take it. —Larry Herzberg China Survival Guide INTRODUCTION How do we go about teaching about Asia? How can we provide context and connections for our students when learning about Asia? How can we ensure that stereotypes are not perpetuated through our curriculum and instruction? How can we ensure contextualized knowledge rather than facts that are soon forgotten? Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 61–67. Copyright © 2016 by Information Age Publishing 61 All rights of reproduction in any form reserved.

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Teaching and learning about Asia can be a monumental task. Unfortunately, much of the history of such teaching has been relegated to a coverage and teacher centered approach, for lack of time, if for no other reason. Still, curriculum tied to Asia often focuses on a travelogue approach, with separate sections in world geography or world history texts. These sections often have just basic information with little context to the rest of the world or larger themes such as conflict, change, or the like. What with the current status of social studies and history education in our society, standardization of curriculum and assessment and neoliberal education “reform” advocacy for rethinking how to address Asia in teaching and learning often seems a false hope. This isn’t to say that many teachers aren’t doing great jobs given all these impositions. Student-centered approaches to any teaching and learning allows for addressing these issues; and we owe it to both our students and society in general. Establishing collaborative groups, learning centers, issues / problem based curriculum, and individual and group projects can enhance efficacy and depth of understanding in any teaching situation. And since Asia is such a massive undertaking, approaching Asia regionally, through individual nations, comparatively, or through themes is surely the way to go. Media and popular culture are also texts that should be integrated in such approaches. ASIA AS A CASE STUDY Approaching Asia regionally or through individual countries as case studies is perhaps the most meaningful way to engage this often daunting area of the world. If we are truly interested in students having in-depth knowledge on Asia establishing collaborative groups and perhaps project-based instructional strategies for investigating regions or countries seems particularly relevant as well. Peer-teaching, integrating technology, gallery walks, and incorporating local resources can only enhance the learning. An additional approach should focus on local to global contexts for investigating Asia through issues or problem based approaches. Texas has great links to Asia through its demographics, trade, consulates, museums, etc. so as to allow for a variety of different themes or topics to be addressed. Again, connecting these themes or topics to group investigations of regions or individual countries provides the necessary framework for 21st century local to global understanding. We must also critically address current ignorance and / or stereotypes regarding Asia. Thus, delving into countries such as Japan, China, India, Korea, Vietnam, Indonesia, and the Philippines at the least and then linking to neighboring countries can provide a start. Perhaps an even better method might be to approach cultural / human geography thematically and issues based by having students represent regions of the world throughout the year. Model United Nations, model world crises conferences, IB curriculum, or AP Human Geo provide lessons and units supporting this strategy.

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ASIA THROUGH MEDIA AND POPULAR CULTURE What do our students think about when Asia is mentioned? Without an in-depth approach, stereotypes or popular culture are often the first things that come to their minds. Since media and popular culture are such strong influences in our students’ lives, it behooves us to critically integrate them into our teaching and learning. Asian popular culture has long influenced the world. Anime, graphic novels, literature, video games, films, and other forms of popular culture have also had a strong influence on American popular culture, technology production / innovation in general. We can all think back, despite the generation, of the impact of Japanese horror / monster films, for example. And where would the world be today without video games or game systems? Popular culture can be used to enhance social, political, cultural, economic and historical contexts (Fitzsimmons & Lent, 2013). Therefore, the issue is to allow students to use popular culture and media as texts to investigate most anything in social studies and history education, but in this context, Asia. A key is to promote critical analysis with media and popular culture both of the time and about the time, if applying in social studies or historical investigation. Once again, educators often do a pretty good job of integrating “their” popular culture as texts. But that is often where it stops, we are often most uncomfortable with our students’ popular culture. We are often quick to dismiss, demean, or censor what I call “kidculture”—it’s mostly because “kidculture” isn’t our culture and we are generally ignorant of it. We can do better. TEXAS AND ASIA A powerful place to start any lesson is by “localizing” the topic or theme. Ask almost any age student to think about Texas and Asia (and even more specifically countries within Asia) and an educator will get a variety of responses such as kinds of food, specific names of movies, video games, etc. Another powerful tool many of us have used is to look at labels of clothing or other items to determine where the items are produced. As we all know, Asia is very prominent in our daily lives in a number of ways. A next step might be to invite local Asian community members to speak as a panel on Texas and Asia, and their localized experiences as Asian Americans. Additional resources can be found at Texas Asia Society http://asiasociety.org/texas or local museums. An Asian or specific culture fair is another idea as an introduction (but watch perpetuating stereotypes—one generally can’t find egg rolls or fortune cookies in China, for example). Most Texas cities have many examples of Asian influence. Houston for example, has numerous Asian cultural societies, one of only three Asian Society sites in the US, Asian art in several museums and galleries, two Chinatowns and one Vietnamese town, many great Asian themes restaurants, numerous Asian themed

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festivals each year, and consulates of virtually all Asian countries. Other cities have similar Asian influences and each serves as great resources for teaching and learning. In moving toward a more formal investigation of Asia or Asian countries specifically, short initial readings, video clips, or popular culture examples are also great ways to focus student attention on any theme. Showing trailers from films such as Spirited Away, Godzilla, Ring, Akira, and Seven Samurai (depending on students’ ages) and asking questions about Japanese / Asia culture, stereotypes, and images are other very powerful methods of investigation and introductions to Japanese culture, for example. In addition, allowing students to bring in their own examples of Asian popular culture (video games, music, movies, literature, etc.) can be quite enlightening. CONCLUSION Asia plays a great role in the world culturally, economically, politically, and environmentally. Now, especially in the 21st century, we must improve the teaching and learning of Asia, given its increasing impact on our world. Rethinking how we approach Asia in our classrooms is necessary and popular culture / media texts can facilitate more student-centered investigation of Asia. The good thing is that we do not have to be dependent on one traditional text any longer. The internet, recent popular culture, and local resources provide opportunities for developing more connections with Asia for our students. Social studies and history should facilitate local to global contexts in teaching and learning; 21st century knowledge, skills, and dispositions pretty much demand it. SAMPLE ASIAN POP THEMES The themes listed below are sample popular culture / media themes with which to address Asian regions or specific Asian countries. They can be established as centers or can be assigned to specific groups. A simple Google search for Japanese movies for example, yielded numerous relevant links that student might explore. A teacher might also integrate a strategy such as ESPN Factors (Economic, Social / Cultural, Political, Environmental) as the umbrella theme for exploring each pop theme—how art affects each factor, for example. • • • • • • • •

Art Film / Movies Literature Music Technology / Video Games Culture / Food Trends / Toys Current Events

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SAMPLE STRATEGIES Likewise to that stated above, a simple Google search for instructional strategies and the samples listed below yield numerous relevant links for specific steps, idea, lessons. A key for enhancing our students’ knowledge, skills, and dispositions is to allow for more student-centered approaches such as the samples listed. Good teaching is not limited to these, but each has proven quite meaningful in the social studies and history classroom. • • • • • • • •

Learning Centers Cooperative groups Gallery Walks Peer Teaching Technology Project-based Problem / Issues based Local—Global Resources LINKS

National Consortium for Teaching about Asia http://nctasia.org/ Asia Society http://asiasociety.org/education/lesson-plans Texas Asia Society http://asiasociety.org/texas Asia for Educators http://afe.easia.columbia.edu/ Asia Network http://www.asianetwork.org/resources/resources-for-teaching/ Asia Lesson Plans http://www.continents.mrdonn.org/asia.html Asian Studies http://www.asian-studies.org/Publications/EAA/About

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Asian Resources http://www.unc.edu/world/asia.shtml Wikipedia—Asia https://en.wikipedia.org/wiki/Asia Asian Consulates http://www.asianreporter.com/consulates.htm POP LINKS 10 Most popular Asian Films http://www.mynewmovies.net/the-top-10-asian-movies/ Greatest Asian Films https://grunes.wordpress.com/category/100-greatest-asian-films/ Cinema of Asia https://en.wikipedia.org/wiki/Cinema_of_Asia Graphic Novels from Asia http://www.amazon.com/s?ie=UTF8&page=1&rh=n%3A4366%2Ck%3Aasi an Asian Toys, Games, Electronics, Music, Movies, etc. http://www.play-asia.com/toys Music of Asia https://en.wikipedia.org/wiki/Music_of_Asia Children’s’ Book about Asia http://delightfulchildrensbooks.com/2011/04/27/asia/ Popular Asia Books http://www.goodreads.com/shelf/show/asian

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Asian Current Events http://wn.com/asia_headlines/news http://www.cnn.com/ASIA/ REFERENCES Fitzsimmons, L., & Lent, J. (2013). Popular culture in Asia. Retrieved from http://www. popmatters.com/review/176439-popular-culture-in-asia/ Rodrigues, U., & Smaill, B. (2008). Youth, media and culture in the Asia Pacific region. Cambridge: Cambridge Scholars Publishing.

CHAPTER 8

DIGITAL POP Digital Storytelling and Popular Culture in Social Education

ABSTRACT This chapter provides an overview of an innovative approach that two instructors developed to use digital storytelling by pairing an Instructional Technology graduate course with another graduate course that focused on popular culture in social education during two subsequent fall semesters. The processes used by the instructors in this collaboration are described and results of the students’ work are also presented and discussed. The focus is the merging of technology and alternative instructional texts to enhance content knowledge in social education.{/ABS} For the past several years, students and faculty members at the University of Houston College of Education have been exploring the educational uses of digital storytelling through a variety of undergraduate and graduate courses offered through the College of Education’s Instructional Technology Program (Robin & Pierson, 2005). In addition, a website titled The Educational Uses of Digital Storytelling has been established, which provides an introduction to digital storytellRethinking Social Studies and History Education: Social Education through Alternative Texts, pages 69–83. Copyright © 2016 by Information Age Publishing 69 All rights of reproduction in any form reserved.

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ing, educational goals and objectives, tutorials to help users get started, evaluation materials for educators, and a large number of example stories. There are numerous ways that digital storytelling can be used as an effective teaching and learning tool. Educators can create their own stories as a way to present new material to students, enhance and contextualize content, or facilitate discussions. Digital storytelling can also be a potent tool for students who create their own stories. The process can capitalize on the creative talents of students as they begin to research and tell stories of their own, as they learn to use the library and the Internet to explore rich, deep content while analyzing and synthesizing a wide range of information. Students who create their own digital stories develop enhanced communication skills by learning to organize their ideas, ask questions, express opinions, and construct narratives. As they learn to create stories for an audience, the process allows them to present their ideas and knowledge in an individual and meaningful way. Ohler (2006) suggests that the process of creating a digital story helps students “tap skills and talents in art, media production, storytelling, project development” and that “helps students become active participants rather than passive consumers in a society saturated with media.” These concepts were used as the foundation for our approach in merging technology, pedagogy, and content knowledge in social education, but also how to connect the stories to personal and educational themes that are important to each student. Combining Digital Storytelling With Popular Culture During the fall 2006 and 2007 semesters a graduate course on digital photography and digital storytelling was offered as half of a 6-semester-hour block in conjunction with a course on popular culture in social education. In the popular culture course, students, many of them first-year teachers, critically analyze issues and trends regarding popular culture in education and select a specific theme that they will use throughout the semester. A list of popular culture themes selected by students is shown in Tables 8.1 and 8.2 below. In the Digital Photography and Digital Storytelling course, students create and collect media (such as images, speeches, interviews, music, video clips), write TABLE 8.1. Music

Popular Culture Themes 2006 Media Literacy

Television

Sports

Food

Fashion

Art

Technology

Literature

Print Media

Movies

Toys and Games

Technology

Cartoons

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Popular Culture Themes 2007

Art

The Berlin Wall

Fast Food

First-Generation Americans

Heroes

John Lennon

Guns and Violence

Hollywood’s Portrayal of African Americans

September 11th Terrorist Attacks

The Palestinian Conflict

Marathon Running

Tattoos

Teen Pregnancy

The American Dream

Football

Television

Childhood Obesity

Vietnam

Race and Prejudice

Print Media

Dealing with Disease

scripts, and design and develop digital stories based on the popular culture theme they selected and explored in the Popular Culture in Social Education course. The students who enrolled in one course were informed that they were required to enroll in the second course, and since the two courses were held on the same day, the students could earn 6 hours of credit by taking the two linked courses. Popular Culture and Social Education The Popular Culture in Social Education course has been offered as a standalone course for several years. The purpose of the course is to investigate popular culture as a tool or strategy for teaching and learning social studies. The idea is that popular culture is a powerful societal force that has great potential for critical application in the classroom (Giroux, 1994). The course is composed of face-toface, online, and community-based popular culture projects. An issues-based approach to popular culture is a particular focus. Therefore, cultural studies and media literacy are themes addressed throughout the course. Cultural studies suggests allowing for multiple perspectives within popular culture, really focusing on alternative texts employed by different groups, students, gender, race, and ethnicity (White, 2003). Media literacy suggests that several critical issues are embedded in popular culture including the following (Shukar, 1998): • • • • •

Economic, market, and consumer issues Cultural preferences and social factors Ideology, dominance, and agendas Mass-appeal issues Moral-panic issues

Initially students are asked to critically investigate the concept of popular culture in American society and its potential role in schools. Much of the course is web based, with students analyzing readings and websites focused on aspects of popular culture. General themes include the investigation of music, movies, tele-

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vision, literature, sports, and technology as popular culture. Community-based investigations include experiences at art museums, theaters, lectures, and other related events. Students are placed into groups to research specific popular culture themes. They are asked to conduct a seminar that engages the class in critically investigating their particular theme. The investigation should include the modeling of popular culture integration in teaching. It should also integrate a variety of technology/media, which is where digital storytelling comes in. Students are also asked to complete various popular culture reflections and engage in online discussion based on the theme for each week. Perhaps the dominant text in the course is technology. Technology is critically investigated as an alternative text and example of popular culture early on. The Internet is used in each class with references to relevant websites—YouTube/ Google Video samples, the class online discussion forum, and new technologies such as podcasts, blogs, wikis. Traditional technologies such as PowerPoint, DVDs, and CDs are also used. Ultimately students are asked to develop digital stories as an integral part of their major project. THE DIGITAL STORYTELLING PROCESS The First Version of the Script Students are first asked to write and submit the first draft version of the script for a digital story based on their selected popular culture theme. Students were allowed to select topics, and some chose historical events, current issues in the news or entertainment media such as film, television and music. The students were asked to include a personal element in their script so that the digital story they created would have a strong connection to something important in their own lives. Since many of the students in the courses were teachers, many of those students also integrated instructional elements in their stories tied to content they planned to use in their own classrooms. Concentrating our efforts on writing a script as the first task differed from our previous experience teaching digital storytelling. In the past, our emphasis had been on finding images to illustrate the story, but we found that selecting a meaningful topic and spending more time on the “storytelling” instead of the “digital,” especially early in the process, made a significant difference and gave students an opportunity to take ownership of the story through the personal nature of their writing. Daniel Meadows (2016), a leading proponent of digital storytelling in the UK, writes that almost half the time in a 5-day workshop is spent working on scripts. And his belief that time spent writing and revising a script is time well spent, proved to be true for our students as well.

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Example Script 1: The Challenger Explosion Can you make a difference in this world? I remember the moment when I first realized I have something that could make a difference. It all started in the cafeteria, which also functioned as an assembly hall, when a TV was being wheeled in front of the crowd. My school, Henderson Elementary, felt it was important for us to view the first teacher ever selected for launch into space. We anticipated, we watched, and excitement mounted; and then in a split second it was gone. Throughout the cafeteria tragedy unfolded before our eyes and shock sank in. The “Challenger” shuttle had exploded during launch, lives were lost forever, and my heart was broken. This is my first recollection of feeling heartache for others and desperately wanting to help make it better. I walked home from school that afternoon trying to figure out what I could do. Later that evening, as I listened to President Reagan console the nation, it hit me . . . I can draw! I decided I would draw a picture of the shuttle and write a letter explaining my actions for those involved in the tragedy. Then I would send it to the one person in charge of it all, the President himself. Looking back, I can see how art has influenced decisions in my life from this moment up to the present day. Although unaware, I brought reality to the saying “a picture is worth a thousand words” as a small child. But I as not the first, nor would I be the last.

Example Script 2: Melanoma Schoolteacher Jessica S. was days away from getting married when a seemingly nondescript mole on her arm was diagnosed as advanced Melanoma. Just 27 years old at the time, she seemed an unlikely skin cancer patient. She had always been athletic and healthy, proud to have never had the flu. She was a marathon runner and extremely conscious of her diet. She never drank sodas, was not a sunbather, nor a tanning bed junkie. She was an athlete and a strong woman. Her days at the beach were with sun block and when playing outdoor sports with waterproof block. Yet the skin cancer was so insidious that it spread from her mole on the left forearm to her lymph nodes in her right armpit. She went through an entire year of chemotherapy, two major surgeries, hair falling out, bedridden for most of the year, suffers from lymphedema, and had sustained damage to her thyroid and serotonin production. Her plans to have children are still up in the air and will be kept on hold for the time being.

Example Script 3 It was a far off war in a far off place that came to visit that sunny mild day in February of 1967. I was only 7, but very aware of the disparaging mood that blanketed our house at 3920 Sunnycrest Lane in Charlotte NC as the morning hours approached midday. Mammaw and Pampaw were visiting from Atlanta which was an exceptional treat as we usually visited them. I don’t remember why they were visiting us, but I’ll never forget the frantic call from Uncle Randy from their home in Atlanta. Uncle Randy, my strapping, strong, fearless, fun-loving, always coming and going teenaged-uncle who was driven to near hysteria by a visit from the brown, nondescript government car and two solemn members of the United States Army. They

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would tell him nothing and only asked for the location of his parents, my Mammaw and Pampaw. The officers left straightaway and hit I85 north which in 5 hours would take them to Charlotte and our house and Mammaw and Pampaw and my mom and dad and me and my brothers, carrying a message that no one wanted to hear . . . And I remember I saw my father cry for the first time. And I remember the flag on the coffin. And I remember it’s the first time I ever saw a dead person. And I remember that Pampaw smelled funny a lot after that. And I remember things were different after that—even though I was only 7.

After the initial versions of the scripts were written, students participated in small group “story circles,” in which students meet in small groups and share their ideas for their stories, read draft versions of their scripts and provide constructive criticism and suggestions that can be used to improve the scripts and the overall plan for the final stories. Describing the importance of story circles, Lambert (2007) writes, “Students that share their stories in our circles recognize a metamorphosis of sorts, a changing, that makes them feel different about their lives, their identities.” And we found that this indeed was the case with our own students, many of whom were not familiar with a story circle and had not participated in one. De Craene (2006) provides a helpful strategy for improving what she calls “literature circles,” especially when students are learning to create digital stories. De Crane suggests assigning specific roles to members of a group to help keep students just beginning to use digital storytelling on task. Some of the roles she recommends include the following: • Discussion Director—leads the group discussion • Summarizer—provides a synopsis of the main ideas and character generation • Investigator—researches the topic for useful background information • Illustrator—creates visual sketches, concept maps, flow charts, etc. Although these suggestions were not known at the beginning of our semester, they will be used in future versions of the course to see how they might improve our use of the story circle process, especially with students who are learning about digital storytelling for the first time. The Oral History Component As part of the digital storytelling development process, students were asked to integrate an oral history component into their story. Their task was to locate someone to interview that could add meaningful material to the story they were creating. This gave students an opportunity to learn how to conduct an interview and collect interesting and useful information from people who they considered

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content experts. Through this process, students became more immersed in the story they were developing by hearing and recording the personal memories and first-person accounts of others. The students had to learn how to research the background of the person they selected, formulate the questions, conduct the interview, and then transfer the recorded material to the computer and edit it into short, meaningful clips. In some cases, the students focused on the impact of significant events by interviewing people who experienced those events. The interviewees were often family members or friends, former teachers, or others who the students already knew. But other students were more creative and selected people who they thought would be good interview subjects. For example, one student whose story focused on his reaction to the death of John Lennon reconstructed an imagined interview with Lennon by using pieces of audio interviews that were made more than 25 years ago. And another used quotes by Andy Warhol to conduct an imaginary interview with the late artist about his views on pop art. And in one of the most powerful uses of this type of “virtual interview,” a student had an associate read the letters that a deceased family member had written to his family before he was killed in battle. Collecting Images and Creating a Storyboard Images are an integral part of the digital storytelling process and our students spend time finding and scanning images in books, magazines, and newspapers, and downloading images they find on the web. They also spend a good deal of time learning to increase their skills using a digital camera and then using an image-editing software program such as Adobe Photoshop Elements to improve the quality of the images they want to include in their story. Students are also required to develop a storyboard, which provides a rough visual sketch of the proposed story. Storyboards may be simple or complex, but either way, they can help students organize their ideas and plans for how images, text, and audio will be used in the creation of the story, and they can also inspire new ideas as the student begins to see any gaps in the story that need to be filled. Storyboards can be drawn on paper or constructed on the computer using specialized storyboard software or just a word processing program. An example of a storyboard created by a student for her story on how African Americans were portrayed in early Hollywood films appears in Figure 8.1. Recording the Narration, Adding Music and Edited Audio One of the most neglected areas in the development of digital stories involves the quality of the audio that is used. In our classes, we emphasize to our students how important it is for the audio in their digital stories to be of high quality. In our class meetings that deal with audio, we cover the use of different types of microphones, digital voice recorders, and older analog audio recording devices

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FIGURE 8.1. An example of a storyboard on African American stereotypes in Hollywood.

such as cassette tape recorders. Students are required to learn to use digital audio production and editing software to record their narration and interview clips and edit them so that they fit in their digital story. Additionally, some students were interested in learning more sophisticated features of audio editing software so they could mix multiple audio tracks that combined their own narration, the interview, and more than one piece of music. Digital audio editing programs we use are shown in Table 8.3.

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Software Programs Used for Editing Digital Audio

Audacity

http://audacity.sourceforge.net/

Goldwave

http://www.goldwave.com/

Adobe Audition

http://www.adobe.com/products/audition/

Adobe Premiere Elements

http://www.adobe.com/products/premiereel/

Adobe Soundbooth (beta)

http://labs.adobe.com/technologies/soundbooth/

Copyright and Educational Fair Use We have found that when the topic of popular culture is merged with the creation of digital stories, students are very interested in using music, images, and video clips from books, television shows, movies, and music retailers such as iTunes. Many students are confused by the complexity and ambiguity of which materials they may use in their projects and which they many not. Consequently, we spend considerable time discussing the issues of copyright infringement associated with these media, as well as if and how use of these materials fall under the concept of educational fair use. As part of the course, students are introduced to the Creative Commons (http://creativecommons.org) and some of the many current websites that provide royalty-free media, especially ones that provide music that students can legally use in their digital story projects. Table 8.4 below shows some of the royalty-free music sites students explore. Evaluation of the Completed Digital Story Project At the end of the semester, students submit a final version of the digital story they created. They are graded on the degree to which their work meets the requirements of that were outlined and discussed throughout the semester. These requirements are based on the Center for Digital Storytelling’s Seven Elements (2004) and include the purpose of the digital story, the point of view, the pacing, the meaningful use of audio, the quality of the images, and proper use of language. Students are also required to submit a Final Project Report along with the final version of their digital story. The report provides students with an opportunity to describe the process they went through creating the digital story and includes the following specific items: TABLE 8.4. Magnatune

Royalty-Free Music Sites https://magnatune.com/today

ccMixter

http://ccmixter.org

Jamendo

http://www.jamendo.com/en

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What is the main topic of your digital story? Why did you select this topic? Who is the intended audience? Describe how this story might be used in an educational setting? Briefly describe the process you went through in completing your digital story. This should include such information as the software programs you used, where the content for the project came from, what items in the project changed from the early stages of selecting the topic through completion, and any other information that describes your work on the story. Describe the major challenges, if any, that you faced in creating this digital story? What were the most significant things you learned from completing the final project? Please add any other information you feel should be included in the report.

Selected comments from the Final Project Reports are shown below and demonstrate how students answered some of the eight items they were asked to address in the report. How This Story Might be Used in an Educational Setting I would present this story to my class to model writing the personal narrative. The first time my students wrote a personal narrative they had a hard time choosing a moment in their life that changed them. Another part of this writing process that I hope to convey better is the importance of detail. I have always tried to analyze movie scenes to emphasize the importance of detail and now I will have the entire process of brainstorming, to writing to making a movie of it to show my students.

Biggest Challenge 1 Each day as I look at my class I see the differences and similarities amongst my students. I have been assigned the inclusion class and as a first-year teacher, it has been very challenging. This is why I chose the topic of special needs children. The most challenging part of creating this story was hearing my student’s opinions about their special need. I have since altered my demeanor toward my students and I now understand that most of their needs are not their fault. Some were born with special needs and others are the result of environmental factors. Creating this digital story has made me a better teacher overall because I have developed an in-depth connection with my students. We can move forward while helping each other as we become more successful.

Biggest Challenge 2 I think the most significant thing I learned in this class is that doing an oral history and creating a digital story out of it is really interesting, but very difficult and chal-

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lenging. It is difficult to do justice to the oral history and the person behind it. Doing such a history is interesting because you are bringing together your own viewpoint and beliefs with the person you are interviewing and you are trying to produce a balance between them. I think the most important things from this course are not necessarily technological. They are mostly about valuing other people and wanting to preserve their history in some way. It is also about allowing your inner psychological feelings to have expression.

Most Significant Things Learned 1 I now understand what it is like to create a digital story in an organized and multipleleveled fashion; therefore, my students will be enriched by this experience as well because I can carry on this learning with them. Because the actual content—the digital story—was infused with something relevant to my life—teaching and working—and some control over my learning was present, the learning and acquisition of information was possible. We always talk about making the learning applicable and relevant to students’ lives, and I thank you for making this class one of those venues.

Most Significant Things Learned 2 The most significant thing that I learned from this course and completing the final project is that digital storytelling can be a powerful medium that can be utilized in the classroom. I am looking forward to integrating this type of learning into my classes. It’s not just a new and improved version of PowerPoint, it is meant to tell a story and to encourage critical thinking.

In addition to submitting the formal Final Project Report, students were also asked to reflect on how they might be able to use digital storytelling in their teaching and how their students might be involved in the process. Some of their reflections are shown below. Reflection 1 I cannot wait to use digital stories in my teaching. I think digital stories would be a great way for students to show what they have learned about a particular subject. It gets them to go beyond the basic reciting of information for a test and actually put their knowledge to use. They also get to show off what they can do, which all of my students would love to do. I think their parents would be very impressed as well.

Reflection 2 I think this is a great project to have students engage in, especially at the conclusion of the unit. It would be interesting to have the students make a digital story of their prior knowledge and then at the end of the lesson they can make another story— comparing and contrasting their exploration and learning.

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Reflection 3 My students can freely browse the site where our digital stories will be posted to get ideas and training on building their own digital story. Allowing them hands on practice to teach themselves encourages active learning, but it allows students to take responsibility for their own meaningful learning. I see Photostory as a tool in art class for the students to express themselves through creativity. They can share information about themselves and their culture.

Reflection 4 I will be using my current digital story project as an anticipatory set for art history or a unit on designers for media/products. It can also be used as an introduction to art for the beginning of a semester to allow insight into what art contributes to our society. I think digital storytelling is a great tool for the classroom, for teachers and students. I plan on using it and in the future allowing students to create their own digital stories as an art project using technology. I feel I could use the stories for introductions or to add depth to the topic of study. They could also be used for closure and reflection at the end of a unit. I also think these are great alternative texts because they play out as a movie segment would. They can be entertaining and informative at the same time, while not being too long and boring.

Reflection 5 I intend to use the digital story that I created in this course as an anticipation guide before reading The Great Gatsby. The digital story should provide some necessary background information about the life and culture of the 1920s, as well as a “teaser” about the main character, Jay Gatsby, that will hopefully spark some interest to read and find out more about him. The digital story will also introduce the theme of “The American Dream” and pose the question of whether it is largely illusory in nature. This theme would be discussed in greater detail at the completion of the novel (and I might perhaps show the digital story again).

Reflection 6 I will use digital storytelling to assess personal narratives or any writing that we do. We are doing Poetry right now and a digital story would really complement the vocal aspect of poetry; poetry is meant to be read aloud. In fact, the “it” thing for contemporary poets today is to create moving/visual poetry. Their poems are like little music videos; the poet reads while images, pieces of movies appear that relate the feeling and images in the poem. I would show some of these visual poems by contemporary poets, then create a story with the class using a poem we write as a class and allow us to create the digital story as a class. Then we can move on to individually creating digital stories of our poems.

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Distributing the Completed Digital Stories At the end of the semester, when the digital stories had been completed, students investigated the different ways that their work could be saved and shared with others. This included how to save their stories for playback on a computer. During this part of the discussion, students discovered that stories created with Microsoft Photo Story 3 software (which most students used) only played on PCs running the Windows XP (or later) Operating System. Consequently, this led some students to learn how to convert these files to another video format that could be played on both PCs and Macintosh computers. Students were also shown how their stories (and associated materials such as copies of the scripts, storyboards, and project reports) could be uploaded to a server so that they could be viewed by a larger audience of web visitors. Some of the stories were added to the Educational Uses of Digital Storytelling website and may be viewed at digitalstorytelling.coe.uh.edu. We also examined how digital stories could be saved for other devices by using specialized software. For example, we discussed the use of programs such as Videora, a free application that allows stories to be converted to a format that can be played on a video iPod. Although many of the students were not at the point where they were able to do this, they nonetheless were interested in learning how it was done so that they might try it in the future. Students were also very interested in learning to save their stories on DVD, especially when they learned that these discs would allow their stories to be viewed on either a computer (with a DVD drive) or a television set connected to a standard DVD player. In our course, students were able to use Sonic’s MyDVD Studio program to create DVDs that include interactive menus, as shown in the Figure.8.2. NEXT STEPS The 6-semester-hour dual-course offering of Digital Photography/Digital Storytelling and Popular Culture in Social Education was deemed a success by both the students and the instructors and is now scheduled to be offered each fall semester. Modifications will certainly be made to improve the in-class activities, and based on the feedback from students, more hands-on time in the computer lab will be included in the next offering. In addition, optional lab time will be added to the schedule, with teaching assistants available to help students with technology topics as well as with script writing, storyboarding, and planning interviews. As a final activity at the end of the semester, the students were asked to describe their next digital story, and the answers included a wide variety of topics such as AIDS, genocide, World War II, Iraq, the changing face of government, and animal adaptations. The excitement among these students was dramatic and highlights the fact that digital storytelling is a powerful teaching and learning tool that engages and

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FIGURE 8.2. Three of the submenu screens of the DVD containing 20 digital stories.

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motivates students in almost every content area. The next step is improved teacher and K–12 student integration of new technologies and popular culture. REFERENCES Center for Digital Storytelling. (2004). 7 elements of digital storytelling. Retrieved October 25, 2006, from http://digitalstorytelling.coe.uh.edu/page. cfm?id=27&cid=27&sublinkid=31 De Craene, M. (2006, August 3). Digital storytelling: A practical classroom management strategy. Retrieved January 14, 2007, from http://terry-freedman.org.uk/artman/ publish/printer_804.php Giroux, H. (1994). Disturbing pleasures. New York, NY. Routledge. Lambert, J. (2007, February). Digital storytelling cookbook. Center for Digital Storytelling. Retrieved February 4, 2007, from http://redcrossyouth.org/wp-content/uploads/2012/03/cds-cookbook.pdf Meadows, D. (2016). What is digital storytelling? Retrieved February 1, 2007, from http:// digitalstorytelling.coe.uh.edu/ Ohler, J. (2006) The world of digital storytelling. Retrieved February 1, 2007, from http:// www.jasonohler.com/pdfs/digitalStorytellingArticle1-2006.pdf Robin, B., & Pierson, M. (2005, March). A multilevel approach to using digital storytelling in the classroom. In C. Crawford, D. Willis, R. Carlsen, I. Gibson, K. McFerrin, J. Price, & R. Weber (Eds.), Proceedings of the Society for Information Technology and Teacher Education International Conference 2005 (pp. 708–716). Chesapeake, VA: Association for the Advancement of Computing in Education. Shukar, R. (1998). Key concepts in popular music. New York, NY: Routledge. White, C. (2003). True confessions. Cresskill, NJ. Hampton Press.

CHAPTER 9

GLOBAL POP Building International Connections Through Music

Growing up today is very different than even a decade ago. We are ever closer in a number of ways and really live in a global neighborhood; today the world is a smaller place. We are instantaneously connected to international events through media and technology. Borders do not mean the same as they did just a few years ago. Ethnocentrism, hopefully, is fading, as our “globalized” world necessitates international connections beyond the basics. Schools in the United States must provide opportunities for students to learn about the world—who people are, what they do, and how they live. Students must learn how to get along with all people—in the United States and the world—as responsible citizens of both. Education for civic competence, for responsible national and world citizenship, falls within the domain of social studies instruction and learning. We must rethink teaching and learning so as to enable these ideas. A Case for Global Education Social studies must include education for a global perspective so that students might also become competent “active” citizens of the world (Chapin, 2003; Diaz, Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 85–91. Copyright © 2016 by Information Age Publishing 85 All rights of reproduction in any form reserved.

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Massialas, & Xanthopoulos, 1999; Tucker & Evans, 1996). A critical component of education in general, and social studies specifically, is to promote an understanding of diversity at home and abroad, “integrating global realities within an existing social studies curriculum meets the needs of an ever-changing, ethnically diverse, increasingly interdependent, international community” (Tucker & Evans, 1996, p. 189). World citizenship requires a global education. Global education efforts must begin with an attempt to understand globalization. Globalization can be defined as “the intensification of worldwide social relations which link distant localities in such a way that local happenings are shaped by events occurring many miles away and vice versa” (McLaren, 1995, p. 180). Diaz et al. (1999) state that globalization refers to the compression of the world and to the intensification of the consciousness of the world as a whole. This process is ongoing and all of us, young and old, Westerners and non-Westerners, are inescapably involved in it. The compression of the world is real. People witness it in their daily lives, in the foods they eat, in the TV programs they watch, in the cars they drive, in the dresses and costumes, in the people they choose to govern them, and so on. (pp. 37–38)

Clearly, globalization is increasingly influential in all aspects of life. Therefore, understanding it through global education is imperative. Schools must provide opportunities for children to “develop the appropriate cognitive skills to understand and explain the globalization process and to critically analyze its impact on their lives and the lives of people around them” (Diaz et al., 1999, p. 38). Above all, according to Diaz et al. (1999), students need to know how to impact the global system as world citizens and as advocates of a well-grounded position or point of view. This suggests that students must acquire both a new knowledge base and skillset. Many of the subjects associated with social studies might offer an appropriate space for global education. Given that at its core, global education is really about cultures and people of other lands (Chapin, 2003) and must be better integrated in social studies classrooms. Rethinking social studies in these ways could provide the opportunity to grow our understanding and appreciation of others in the world, something essential to our roles and responsibilities as global citizens. Given the global interconnectedness of the world today, the global context must be present. According to Merryfield (2001), students must develop a global perspective that will emphasize cross-cultural experiential learning and stress commonalities in cultures that transcend diversity. One culture that already seems to transcend world barriers is popular culture. Popular Culture and the Global Popular Common culture or mass culture is usually defined as “popular culture.” Today, popular culture is more specifically associated with commercial culture: movies, television, music, advertising, toys, photography, games, the Internet, and so on.

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Popular culture is also one of the United States’ most lucrative exports. Many critique American popular culture as a form of cultural imperialism tied to unbridled capitalism. While this issue should definitely be included in any integration of popular culture, cultural sharing goes many ways. The export of popular culture is not a new phenomenon. Elements of popular culture have always spread beyond nationalist borders. Today, satellite television, multinational media corporations, and the Internet provide unprecedented opportunities for the spread of popular culture. U.S. students have access to media that allows them to experience cultures from around the world. Conversely, many of these culture “industries” are U.S. exports, so the world’s access to American popular culture is also burgeoning. Given the global cross-cultural nature of contemporary popular culture, it is sometimes difficult to determine origin. This globalization of popular culture has resulted in what Kellner (1995) refers to as a new “global popular.” The existence of the global popular means that we might easily find a common frame of reference or topic when asking U.S. students to consider “others” in the world. One such topic or frame is investigating global issues through music. Two themes that have great possibility while integrating music include investigating global issues and differing cultures. Access to world music has exploded, for example. Globalization Through Music Students today live in a world made up of many texts, and it is essential that they develop multiple literacies that will allow them to read the signs, symbols, and images (texts) of that world. Schools must provide students with “new operational and cultural ‘knowledges’ in order to acquire new languages that provide access to new forms of work, civic and private practices in their everyday lives” (Lankshear & Knoble, 2003, p. 11). Social studies classes seem to be the perfect place to turn students on to these meaningful knowledges/issues, and popular culture can provide the context for developing the literacy skills necessary to interpret those issues. Students must begin to think critically about popular culture texts. The word text is generally anything that can take on meaning—events, places, images, sounds, gestures, and so forth. The literacy (decoding and comprehension) skills required to make sense of these texts are complicated by the fact that these texts can take on different meanings depending on the situation, context, usage, culture, or historical period (Gee, 2003). Students must critically examine assumptions, attitudes, and values underlying the production, mediation, and consumption (especially students’ own consumption) of such texts and how they position students to assume particular social, gendered, and racial reading positions as they invite them to explore a constructed world in particular ways. Reading global issues through music offers students the opportunities to apply knowledge and develop skills in a meaningful context, as Kincheloe (2001) rec-

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ommends. Students learn where people live, their environments, and so on. Much the same can be said in learning about other cultures through world music. Music is a common text throughout the world. CONCLUSION Responsible global citizenship requires knowledge of the “others” in the world, whoever they might be. It also requires the skills to understand and act in the best interests of the majority of the people. The knowledge base should include an understanding of who the other people in the world are, what they do, and where they are. The skillset should include inquiry and critical literacy/thinking skills. Social studies instruction must avoid the transmission of information and provide students opportunities to apply their knowledge in a meaningful context. Popular culture is a global frame that contains various texts that can be used effectively in a classroom. One of those texts is music. The global appetite for music makes it a good choice for investigating people, places, and issues in the world. SAMPLE ACTIVITIES Culture and World Music • Brainstorm popular culture examples from around the world. Examples include anime, video games, foreign films, international food, fashion. • Have students share their experiences with global popular culture. What have you learned about the cultures that produce the popular culture? • Discuss “stereotypes.” Have these examples perpetuated stereotypes or helped dispel generalizations? • Share examples of world music. • Compare and contrast with student music choices. • Allow students to investigate world music sites (see list). • Have samples of world music available (see website list). • Have students in groups complete a digital story or PPT on culture, another nation, or a global issues by integrating. Share. Music and Social Issues Introduction • Pass out lyrics to any song that deals with social issues such as Waiting on the World to Change by John Mayer or Where is the Love by The Blackeyed Peas • Play the song; play other examples of songs that deal with social issues. • Ask the following: – What is the song about? – What issues and ideas are presented?

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– Why does the song begin and end when it does?{/BSL} • Place students in groups of approximately four. • Tell students that they are going to write their own lyrics on an agreed-upon social issue • Have students individually brainstorm current social issues. • Have group members share. • Create a group stanza. • Pass out transparency and have groups write new stanza. • Each group will share/sing new stanza. • Following the sharing, have groups discuss rationale for events/issues included. Groups • Individuals in groups brainstorm themes, social issues and music examples for integration. • Brainstorm application ideas. Share. Modeling • Have examples of music for groups to investigate. • Examples include songs from Public Enemy, Kanye West, Nas, System of a Down, Bob Dylan, Pete Seeger, Ani Defranco, Woody Guthrie, etc. • Discuss the examples and choose specific examples of music for classroom integration. • Have lyrics and music for songs such as Changes by 2Pac, Roll with It by Ani Defranco, Shimmy by System of a Down, Imagine by John Lenno • Groups should brainstorm integration ideas. Music and 20th Century Introduction • Play 2–3 of your favorite songs (history, social themes). Inform students of the meanings, connections and why you like the songs. • Have students do the following: – Write names of three favorite songs. – Describe what the songs mean. – Why do you like the songs? – Bring in examples/lyrics. Groups • Share examples. Have group members write or draw a response to the examples. • What are the similarities and differences between songs?

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• Discuss in groups: – What are the elements of a good song, artist? – What kind of music do you like? – What are current issues regarding music in society? – What are your thoughts about these issues? Extensions Do the same with various themed collections such as – Jukebox Hits of the ’50s, ’60s, ’70s, ’80s, and ’90s – Long Walk to Freedom – Say It Loud{/BSL} • Use various themes/issues in the music to teach or make connections to history/social issues. Websites • Antiwar Songs: http://onegoodmove.org/1gm/1gmarchive/2003/03/antiwar_songs_1.html • Themed Songs: http://www.lacarte.org/songs/index.html {/UNL} • Education Planet—History and Music: http://www.educationplanet.com/ search/search?keywords=history+and+music&startval2=0 • Global Music Archive: http://www.globalmusicarchive.org/ • Global Music Project: http://globalmusicproject.org/ • Global Rhythm: http://www.globalrhythm.net/ • History in Song:Popular Songs in American History: http://www.contemplator.com/america/ • Putumayo World Music: http://www.putumayo.com/ • Rootsworld: http://www.rootsworld.com/rw/ • Songs for Social Studies:This Day in Music History: http://datadragon. com/day/ • Top 20 Music History: http://www.top20musichistory.com/ • World Music Institute: http://www.heartheworld.org/ • World Music: http://worldmusic.about.com/ • World Music: National Geographic: http://worldmusic.nationalgeographic.com/worldmusic/view/page.basic/home • World Music: NPR: http://www.npr.org/templates/story/story. php?storyId=10004 REFERENCES Chapin, J. (2003). A practical guide to secondary social studies. Boston, MA: Pearson Education. Diaz, C., Massialas, B., & Xanthopoulos, J. (1999). Global perspectives for educators. Boston, MA: Allyn & Bacon.

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Gee, J. (2003). What video games have to teach us about learning and literacy. New York, NY: Palgrave Macmillan. Kellner, D. (1995). Media culture: Cultural studies, identity and politics between the modern and the postmodern. London, England: Routledge. Kincheloe, J. (2001). Getting beyond the facts: Teaching social studies/social sciences in the twenty-first century. New York, NY: Lang. Lankshear, C., & Knobel, M. (2003). New literacies: Changing knowledge and classroom learning. Buckingham, England: Open University Press. McLaren, P. (1995). Critical pedagogy and predatory culture: Oppositional politics in a postmodern era. New York, NY: Routledge. Merryfield, M. (2001). Moving the center of global education: From imperial worldviews that divide the world to double consciousness, contrapuntal pedagogy, hybridity, and cross-cultural competence. In W. Stanley (Ed.), Critical issues in social studies research for the 21st century (pp. 179–207). Greenwich, CT: Information Age. Tucker, J., & Evans, A. (1996). The challenge of a global age. In B. Massialas & R. Allen (Eds.), Crucial issues in teaching social studies K–12 (pp. 181–218). Belmont CA: Wadsworth.

CHAPTER 10

HOLLYWOOD HISTORY Revisiting Film as History

Everything I learned I learned from the movies. —Audrey Hepburn (brainyquote.com, 2016) Most history and social studies teachers love a good film that can be integrated into teaching and learning. Many of us can list our favorites for the classroom very quickly—Saving Private Ryan, Glory, Dances with Wolves, Shindler’s List, and Ghandi are all often at the top of teacher lists. Fortunately, many great films can be integrated for teaching any number of history or social studies themes. A major issue hinges on the instruction that accompanies such integration. Steven Speilberg, Ken Burns, and Oliver Stone (among others in TV and film) are very powerful history teachers—for good or bad. Often Hollywood history becomes our students’ version of history. Debate rages regarding the accuracy, effectiveness, and appropriateness of using movies in social studies education. We need just to recognize that any film’s goal is to make money and to engage the audience, not to report pure historical facts; but that teaching film interpretation, critique, and media literacy help prepare students to become critical thinkers (Marcus, Metzger, Paxton, & Stoddard, 2010). No one can deny the power of film for teaching and learning. Movies evoke higher emotional responses, and emotional memories last longer and are generalRethinking Social Studies and History Education: Social Education through Alternative Texts, pages 93–98. Copyright © 2016 by Information Age Publishing 93 All rights of reproduction in any form reserved.

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ly more accurate than other memories (Medina, 2008). A key is that movies allow for multiple learning styles and variety in the classroom and can facilitate studentcentered learning if such activities are planned before and after the showing. Three key goals for history/social studies education in facilitating critical citizenship include promoting reasoned judgment, promoting an expanded view of humanity, and deliberating over the common good (Stoddard & Marcus, 2010). Each of these goals could serve as themes for reflecting on any text integrated in the history of social studies teaching. Traditional history education that focuses on imparting a grand and “true” narrative is antithetical to these goals and to what history and social studies really are about. A meaningful application of movies can help to address this. Documentaries, docudramas, and historical fiction are the three most common types of movies used in social studies and history classrooms. Each of these can provide an excellent lens into social or historical perspective, but we need to ensure that our students (as well as the teacher) realize that objectivity or neutrality does not exist within any film and should be part of the investigation. A strong argument should also be made that perspective is what history is about and that the search for truth is a vital part of the ongoing historical process. Social studies and history should be more about asking additional questions than looking for “right” answers. Teaching With Film The breadth versus depth issue continually arises in social studies/history teaching and learning. Excuses abound for not teaching thematically or in-depth on a particular theme or issue, usually focusing on time, testing, standardization, or reactions to administrative or district impositions. The knowledge, skills, and dispositions accompanying in-depth history investigation are transferrable across the curriculum and truly are life skills. Increasingly, social studies educators and researchers are finding that a coverage approach leaves the students with little context or connections for internalizing much of what is “taught.” How many of us had history teachers who lectured day in and day out, used only worksheets, and often showed entire films (feature or documentary)? Likewise, using any one film to represent any one issue, theme, or topic in history is problematic as well. Fortunately the stereotype is generally not accurate, but there are approaches we can take to diffuse it once and for all. Any use of film requires the use of other tools, texts, and strategies to ensure depth of knowledge. Snippets of trailers of movies in teaching and learning are often (if not always) more powerful and effective than entire films, especially given the time and depth issues. The Internet Movie Database (IMDb), YouTube, and Digital History all provide access to snippets and/or trailers of movies. In addition, various free online tools can assist in capturing snippets or relevant scenes for instruction (aTube Catcher, iMovie).

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Integrating film should be as much a part of the planning process as any other curriculum or instruction process. Snippets used as anticipatory sets or focus activities can be powerful and of high interest for students at the beginning of a unit or lesson, or even to change the focus and reinvigorate the classroom. Having students view trailers or scenes in small groups, in centers or individually on laptops or tablets can enhance student-centered projects and collaborative learning. Any use of film should include some type of scaffolding or framing prior to showing, linking to the curricular themes, prior knowledge, expectations, possibilities from the viewing. Neilson (2011) outlines the teaching of historical media literacy with a five-step process: Choose an appropriate film, scene, snippet; Introduce the film with pre-viewing activities; Provide students with active viewing tools; Engage students in post-viewing activities; and Assess students’ historical film literacy. According to the Center for Media Literacy (2011), the average American spends 9 years of their lives watching movies/video. Strategies incorporating media literacy are vital for meaningful integration of film and is the place to begin. One of the most accepted definitions of media literacy is the ability to access, analyze, and evaluate (and often create) media in a variety of forms (Aspen Institute, 1992). Any media integration should include instructions incorporating these strategies. Active viewing should be expected whether the film is a snippet or a somewhat longer clip. Charts, graphics organizers, listing of themes or questions, pausing or rewatching scenes can all be used while watching. As part of the postviewing protocol, students should investigate media through a critical lens that should include summaries and comparison, but also might include questions such as • • • • • • • •

What are the goals and objectives? How might the media be interpreted by others? What values, points of view are represented or omitted? How is the media compared to other relevant examples? How can the media be linked to both the past and present? What did you learn? What is your evaluation of the media? What other issues and/or questions are there?

Historical literacy assessment should be thoughtful active, and creative. Studentcentered activities should follow the critical reflection that might include projects that investigate multiple perspectives and other media/resources or involve student-created media. CONCLUSIONS Movies and other media are generally popular with us all and can enhance a truly engaged history/social studies classroom. YouTube and Netflix have literally

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changed the world. Learners of today require interactive learning and multiple modalities, and it should be expected that media such as film be a tool for such student-centered approaches. The ubiquitous nature of technology in society is impacting every minute of our lives as well as the teaching and learning process. Using links to film online in a number of instructional settings allows film to be used as both a primary and secondary historical source. A vital goal of history education is to facilitate critical investigation and appreciation of multiple perspectives. Integrating film wisely can really address the age-old student dislike of history. Suggestions • Use Digital History, IMDb, or YouTube to find and show a scene or snippet focusing on the theme of the lesson/unit. • Use scenes or snippets as transitions from one activity in a lesson/unit to another. • Develop a film center (for a lesson/unit or permanently) to be used by individual students or small groups during a lesson/unit. • Use laptops, computer lab, tablets to investigate films, snippets, scenes on lesson, unit themes. • Have students locate scenes or snippets of appropriate films to use for class projects. • Allow individuals or small groups to view a theme/perspective through different film examples. • Use films to investigate past, present, and future themes in history/social studies. • Investigate film as a reflection of the times or as an impact on the times. • Have students create their own films for class projects. • Have students bring in other examples of movies. Sample Movies (see lists below for many more) • Civil War: Glory, Gettysburg, Ride with the Devil, Red Badge of Courage • Cold War: Dr. Strangelove, Manchurian Candidate, Thirteen Days, Missles of October • Colonization: The New World, 1492, Last of the Mohicans, The Scarlet Letter, The Crucible, The Mission • Genocide: The Killing Fields, Hotel Rwanda, Shindler’s List, Life is Beautiful • Government: The Contender, Election, Dave, Recount, Game Change, All the President’s Men, Primary Colors, Mr. Smith Goes to Washington, Wag the Dog, Animal Farm, 1984, 12 Angry Men • Immigration: Hester Street, The Immigrant, El Norte, A Day without a Mexican

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• Racism: Birth of a Nation, Bamboozled, Roots, A Raisin in the Sun, Ghosts of Mississippi, Mississippi Burning, Malcom X, Ali, To Kill a Mockingbird, Remember the Titans • Social Issues: And the Band Played On, Philadelphia, Dead Man Walking, Awakenings, Bully, Basketball Diaries, A League of their Own, Norma Rae, Smoke Signals, Silkwood, Good Night and Good Luck, Grapes of Wrath • Teaching: Goodbye Mr. Chips, Up the Down Staircase, Freedom Writiers, Dead Poet’s Society, Stand and Deliver, School of Rock • The West: Dances with Wolves, The Searchers, Bury My Heart at Wounded Knee, How the West was Won • Vietnam: The Green Berets, Platoon, Born on the 4th of July, Coming Home, Full Metal Jacket, Apocalypse Now • World: Gladiator, Braveheart, Mongol, Elizabeth, The Mission, Reds, Gandhi, Power of One, Blood Diamond, City of God, El Norte, Danton, The Official Story, Lawrence of Arabia, Spartacus, Frida, Joan of Arc • WWII: Saving Private Ryan, Band of Brothers, Flags of Our Fathers, The Longest Day, Judgment at Nuremberg, Patton, Diary of Anne Frank, Midway, Casablanca Links • History in the Movies: http://www.stfrancis.edu/content/historyinthemovies/index.htm • History Tech: http://historytech.wordpress.com/2012/02/25/tip-of-theweek-teaching-with-movies/ • Learning History through Film: http://heartofwisdom.com/blog/learningamerican-history-through-movies-free-timeline/ • Modern History in the Movies: http://www.fordham.edu/Halsall/mod/ modsbookmovies.asp • Owl Teacher—Teach with Movies: http://www.owlteacher.com/teachwith-movies.html • Teach with Movies: http://www.teachwithmovies.org/ • Teaching History through Film: http://mediapede.org/filmhistory/ • Teaching History with Film: http://learning.blogs.nytimes.com/2013/01/22/ teaching-history-with-film-lincoln-argo-and-zero-dark-thirty/?_r=0 • Teaching History with YouTube: http://www.fordham.edu/Halsall/mod/ modsbookmovies.asp • Teachinghistory.org: http://teachinghistory.org/teaching-materials/teaching-guides/24299 • The History Place—Hollywood’s Best Movies: http://www.historyplace. com/films/index.html

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Film Lists • 100 Best History Movies: http://www.imdb.com/list/K-4bM28BkCk/ • 100 Best Political Films: http://www.imdb.com/list/KRy-af9K5cc/ • Best Documentaries: http://www.rottentomatoes.com/top/bestofrt/ top_100_documentary_movies/?category=8 • Best Historical Films : http://www.flickchart.com/Charts.aspx?genre= Historical+Film • Best Political Films: http://www.washingtonpost.com/blogs/the-fix/ wp/2013/04/05/the-best-political-movies-ever/ • Best Politics and Government Films: http://www.flickchart.com/Charts.as px?genre=Politics+and+Government • Films about Early America: http://www.lehigh.edu/~ejg1/SEA/EAL-FilmIntro.html • Films set in the 19th Century: http://en.wikipedia.org/wiki/Category:Films_ set_in_the_19th_century • Geographic Films: http://www.siue.edu/GEOGRAPHY/ONLINE/Vogeler2012.pdf • Social Issues: http://www.flickchart.com/Charts.aspx?genre=Social+Issues • The History Place – Best History Movies: http://www.historyplace.com/ films/ • Top Documentaries Free Online: http://topdocumentaryfilms.com/ • http://www.listal.com/movies/social+issues{/UNL} REFERENCES Aspen Institute. (1992). Aspen Institute report on media literacy. Washington, DC: Aspen Institute. Center for Media Literacy. (2011). Mission: Media literacy. Retrieved from http://www. medialit.org/ Marcus, A., Metzger, S., Paxton, R., & Stoddard, J. (2010). Teaching history with film. New York, NY: Routledge. Medina, J. (2008). Brain rules. Seattle, WA: Pear Press. Neilson, G. (2011). Media literacy in the social studies classroom. Education Digest, 76(7), 43–45. Stoddard, J., & Marcus, A. (2010). More than showing what happened: Exploring the potential of teaching history with film. High School Journal, 9(2), 83–90..

CHAPTER 11

LOCAL TO GLOBAL Pop Connections in Our Globalized World

I have been involved in Model United Nations for years. There are many reasons I am a strong proponent of Model UN—global connections, life-skill development, student-centered activities, content knowledge, and even as a challenge to the often ethnocentric nature of the social studies curriculum. There are issues of course: the need for critical analysis and reforming of the UN, the competitive nature of the Model UN Conference, and a sometimes privileged make-up of some of the participating schools. The Global Classrooms of Model UN focus I now help coordinate goes even further in attempting to provide an in-depth local-to-global connection in education. It also focuses on students from less privileged backgrounds, challenges the competitive aspects of traditional Model UN, and attempts to connect students to the world and its issues through texts such as popular culture and primary sources. Perhaps the principal difference is that Global Classrooms offers an indepth curriculum beyond that of participating in a Model UN conference. While Global Classrooms has served as the initial avenue for better connecting students and social studies with the world, many of the ideas can be adapted to any social studies focus. Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 99–105. Copyright © 2016 by Information Age Publishing 99 All rights of reproduction in any form reserved.

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Initiatives such as Global Classrooms offer the context and connections often missing from traditional compartmentalized social studies curriculum. The local connection to the world and U.S. history in context to world history are often ignored for the sake of memorizing the essentials (dates and dead people). Fortunately, many historians such as Zinn (2005), Foner (1999), Bender (2006), and Reichard and Dixon (2008) who challenge this have stressed the need to engage in critical historical investigation through a global lens. Globalization I am pretty sure that we are not engaging our students deeply enough in the critical investigation of globalization within our social studies classrooms. The world seems to accept the idea that globalization is defined as the growing interconnectedness of the world. I suggest that not only is this too narrow an approach, but like much else in schools, it is only a very simplistic definition of a quite complex concept. We owe it to our students and future generations to really go further and to deeply embed a critical investigation of globalization. It offers an opportunity to provide the local-to-global focus so needed for our students. Globalization means many things to many people. I would suggest that globalization is tied much more to most of the critical issues facing humanity than we are likely to admit. Unbridled rampant capitalism or corporatization in the guise of globalization is quickly usurping nationhood and unique cultures. Many around the world offer Americanization as the culprit, but it is much more than that. It just so happens that at present many of the most powerful corporations call the United States home. That matters little anymore, what with offices around the world, outsourcing, and tax havens in other countries. We all also know that Japanese car companies, for example, lead the world in auto production and innovation. Many are writing on globalization, but Thomas Friedman has become the godfather of globalization. Not quite a capitalist apologist, Friedman, nevertheless basically suggests that there is not much we can do about the movement except embrace it and celebrate its potential for facilitating progress (2007). I would suggest that at present, much harm comes from just such an attitude. It allows for dismissing the most heinous aspects, including the growing gaps between rich and poor, capitalism usurping democracy as a governing ideology, and the growing influence of corporations over our daily lives. Where in society do we see the debate, especially given the global economic situation? One would think that a variety of social institutions would welcome the debate. Rather, governments embrace globalization with little controversy. Media would be a likely choice as well, but increased conglomeratization of media dispels any deep critique there. Schools may be our last choice! So let’s get to work.

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Globalizing Pop If there is any tool that can facilitate a local-to-global focus in social studies it is popular culture. Not only is popular culture a text that students (really all of us) relate to, it is ripe for critical analysis tied to global issues and globalization. Virtually all popular culture texts, including music, movies, television, print, and technology have examples focusing on global issues or have components themselves that deal with global issues or globalization (Crothers, 2007; SilbermanKeller, Bekerman, Giroux, & Burbules, 2008). The success of Avatar is an example of the global influence of popular culture and also an example of popular culture that deals specifically with global issues. The film is one of the most expensive films ever made, yet many people, even in “developing” countries, have seen the film. It is also already one of the top grossing films in history. Issues of marketing, funding, and the influence of American popular culture can be investigated. On the other hand, the film possesses themes dealing with the environment, corporatization, civil rights, and even can be viewed as a metaphor critical of “American” involvement. All of these issues can be explored in a local to global frame. The oil disaster in the Gulf of Mexico is another example of local-to-global issues. News coverage and popular culture connections can be investigated in light of global issues. Such a disaster can also easily be connected to the need for local and global awareness and for service to others. Various perspectives regarding environmental issues, offshore drilling, and alternative energy can be debated by looking at print media, online coverage, and television news. The use of technologies such as social networking sites and other websites in dealing with these issues can also be integrated or discussed. The hotly debated topic of climate change also can be integrated through a local-to-global framework. There are a variety of films, television shows, print sources, music references, and technology links dealing with climate change. Searching for movies on climate change yielded many examples, from An Inconvenient Truth, to Day after Tomorrow (http://www.alternate-energy-sources.com/ green-movies.html). Searches for websites on climate change result in literally thousands of links. Many musical artists such as Michael Jackson, Sting, Green Day, Madonna, Melissa Etheridge, Rise Against, and Jack Johnson have recorded songs dealing with climate change. (http://www.last.fm/group/350+Songs+Abou t+Global+Warming/forum/104456/_/442095) Many local-to-global issues have specific current connections, but perhaps one of major interest is immigration. Recent films such as Babel, The Visitor, A Day without a Mexican, and YouTube videos on immigration protests are just examples of immigration themed media. Immigration debates, documentaries, songs, photo montages, and immediate news clips on immigration are all found on YouTube. In addition, many general immigration information websites are also out there, several of which have been used in classrooms during these controversies.

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Some of the best for teaching and learning are Library of Congress, Immigration for Kids, Becoming American, and The New Americans. Additional themes that can be adapted to a local-to-global framework using popular culture include trade, energy, global aid, travel, volunteerism (service), historical events, and conflict, to name just a few. A quick Google search of global issues results in numerous links that can be investigated. Likewise, a YouTube search of similar themes results in a variety of video examples with numerous perspectives that can be downloaded for use in the classroom using programs such as Media Converter or Snagit. Global Citizenship A key question through all of this is “Why should we do this?” For way too long our social studies curriculum has focused on transmitting basic information with few connections. We maintain very similar strategies and texts as 100 years ago. We continue debating liberal and conservative ideology regarding curriculum standards. Our students and their future are more important than personal agendas. “Local to global” is an interesting approach to address in an educational context. Our communities and businesses have been dealing with it for some time. As we continually attempt to improve our teaching and learning, adapting social studies curriculum and instruction to a more local-to-global approach not only helps to connect with our students, it better prepares them as citizens of the 21st century. We are global citizens too! SAMPLE ACTIVITIES Globalization Simulation (Secondary Level): Scenario You will role play various constituencies regarding the global economic crisis. You are to examine various issues / approaches regarding the global economic crisis, develop a position statement and present your position statement with possible solutions / ideas. Roles 1. 2. 3. 4. 5. 6.

Government Representatives of Developing Nations Government Representatives of Developed Nations Citizens/Consumers of Developing Nations Citizens/Consumers of Developed Nations Multinational Corporations United Nations Representatives

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Procedures 1. 2. 3. 4. 5.

You are charged to brainstorm important problems/issues regarding the global economic crisis. Prioritize issues/approaches and decide on 2–3 to work on. Develop position/proposal statements on global economic crisis. Present your position/proposal statements for discussion. Debate proposals and vote on most appropriate solutions for the problem.

Interdependence Unit (Elementary Level) Day 1 1. 2. 3.

4.

5. 6. 7. 8.

Display a map or a globe. Ask: What does it mean to be connected to other people? a. How are we connected to other people and countries of the world? Have students conduct a survey of cars or labels on clothes. a. Determine where items originate. b. Provide other examples. c. Show locations on world map. Ask: Why are these countries producers and others not? a. Introduce the term interdependence and ask how we are dependent on others. Read It Takes a Village by Cowen-Fletcher. Ask: What does the last line mean? How is this interdependence? Extension: Have students conduct a survey of technology, food at home to share. Conclude by asking students to state what they learned.

Day 2 1. 2. 3. 4. 5. 6.

Ask: How is the world wonderful? How are we alike and different? Read the book What a Wonderful World, play the song by Louis Armstrong. Have groups create murals showing how the world is wonderful to them. Display. Read the book People, by Peter Spier. Have students create Venn Diagrams comparing similarities and differences in groups. Conclude by asking students what they learned.

Day 3 1.

Ask: Does the world have any problems? What are some examples?

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Read Butter Battle Book by Dr. Seuss. Have students create individual conclusions to the story. Choices might be drawing, writing a story or poem, creating a puppet show or skit, etc. Have students share conclusions in groups. Have each group decide on the most appropriate conclusion to share with the rest of class. Ask students to provide a rationale for their decisions. Read Oh, the Thinks You Can Think by Dr. Seuss and discuss meaning. Conclude by asking students what they learned.

Day 4 1. 2. 3. 4. 5. 6. 7.

Review problems discussed in class the day before. Read the books Just A Dream by Chris Van Alsburg and The Lorax by Dr. Seuss. Have students create solutions art responses. Introduce the computer simulation “Environment” by Tom Snyder (other programs that could be used include Simearth, Race to Save the Planet). Engage in the simulation with students role-playing and making decisions regarding environmental issues. Debrief: Discuss other environmental issues and possible solutions. Have students write on one environmental issue giving possible solutions. Conclude by asking students what they learned.

Days 5–10 1.

2.

3. 4. 5. 6.

Inform students that they will be conducting a Planetary Problem Solving Convention. Students will role-play experts on various issues using the jigsaw approach. Have student groups pick a problem to research and present possible solutions. Students should be in groups of 2 or 3. Integrate inquiry procedures. Have access to library, Internet, databases, and atlases. Share information and problems in jigsaw groups. Have student groups create posters, videos, skits, panel discussions to provide background to convention. Conduct convention and vote on solutions. Teacher will need to establish rules and procedures. Debrief and conclude by asking students what they learned. REFERENCES

Bender, T. (2006). A nation among nations. New York, NY: Hill and Wang. Crothers, L. (2007). Globalization and American popular culture. Lanham, MD: Rowman & Littlefield. Foner, E. (1999). The story of American freedom. New York, NY: Norton. Friedman, T. (2007). The world is flat. New York, NY: Picador.

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Reichard, G., & Dixon, T. (2008). America on the world stage. Champagne: University of Illinois Press. Silberman-Keller, D., Bekerman, Z., Giroux, H., & Burbules, N. (2008). Mirror images: Popular culture and education. New York, NY: Lang. Zinn, H. (2005). A people’s history of the United States. New York, NY: Harper.

CHAPTER 12

LATIN AMERICANIZING THE CURRICULUM Celebrating Hispanic Culture

What would Texas be without the influence of Latin American Hispanic culture? What are the great influences from Latin America / Hispanic culture? How can we improve the Latin Americanizing of teaching and learning or the integration of Hispanic culture? INTRODUCTION Fortunately, Texas generally celebrates its “Latin Americanness” for the most part. And while we appreciate the influences from Latin America, we often perpetuate stereotypes or belittle the culture and issues in other ways. We all love our TexMex, Tejano music, and other Hispanic influences, but when it comes to language, Mexican American or Latino/a Studies, or immigration issues, things get controversial. And while Texas will soon have a majority Hispanic population, there are growing issues of gentrification, resegregation, poverty, and other social justice issues. Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 107–112. Copyright © 2016 by Information Age Publishing 107 All rights of reproduction in any form reserved.

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Because of these ongoing issues, I adapted social studies into social education some year ago in attempt to rethink what we might do in teaching and learning when it comes to culture and history. I was tired of narrow conceptions of history; I was tired of only the winner’s version; I was tired of only exceptionalism; and I was tired of many of the lies we perpetuated (Zinn, 2000; Loewen, 2005). Social education may seem only a semantic diatribe to some—but to others it means celebrating diversity, allowing for questions and controversy, and addressing issues of equity and social justice in social studies and history education. As part of this evolution, a few years ago I started a program called “Latin Americanizing the Curriculum.” A goal was to localize social studies and history through a present to past approach by exploring current culture and issues through course development, study abroad, and integration into pre-service and in-service teacher education. Granted that this only an “ivory tower” endeavor at this point, but educators at all levels have been involved. A key is to link to teaching in k—12 schools and to improve context and connections through popular culture and other alternative texts. LATIN AMERICANIZING The project began when three University of Houston professors, one from History, one from English and one from Education developed and internal program to Latin American the Curriculum at UH. English, History, and Education courses were developed with such themes professional development was offered to local related cultural experiences. A primary goal was to improve the relevance of Latino studies and to provide a local to global connection to culture. Along with integrating Hispanic themes in social education courses, a summer project was developed entitled “Latin Americanizing the Curriculum.” The project included the development of a course in global / international education focusing on Latin America and a study abroad experience. The education course was cross-listed with a history courses focusing on a theme in Latin American History. The project has thus far included experiences in Costa Rica, Cuba, Peru and this year in the “motherland” of Spain. Themes for the entire project include local to global contexts, present to past connections, and issues / problem based investigations. The goal is for educators to experience Latin American culture and then to integrate student-centered curriculum and instruction tied to Latin American / Hispanic culture. With all of this in mind, participants are encouraged to develop reflections / personal narratives linked to the experience and include pictures, video, cultural items in curriculum development. Student centered group projectbased activities are expected in allowing students to draw connections to local and global themes and issues. The school year then includes follow-up experiences where all are invited that included speakers, films, local events, and general discussions / talks in an attempt to broaden the Latin Americanizing theme. While I understand that study abroad is not possible in most situations, the idea again is to develop an understanding that experiential “doing” of history

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and social studies facilitates cross-cultural understanding. Allowing students to explore their local environment / community only serves to improve community / citizenship skills. All areas of Texas are greatly influenced by Hispanic culture and thus should be celebrated—art, music, festivals, museums, restaurants, stores, community centers, service learning, schools, churches, neighborhoods, neighbors. Likewise, economic, social, political, and environmental issues should be explored as well. STUDY ABROAD EXPERIENCES The study abroad experiences were each unique and again specifically tied to the Latin Americanizing the Curriculum project. While true cultural immersion cannot occur on 2-week trips, the idea was to experience a broad swath of the culture. Exploring economic, social, political, and environmental issues, as well as playing tourists by visiting unique sites was on the agenda. Modeling the possibilities of developing a learning community both inside and outside the classroom was of particular interest, but also ensuring the integration of these experiences in one’s teaching while also helping students connect using popular culture and alternative texts. Costa Rica Primary themes for Costa Rica included natural history, development, and education. This was the first of the project related study abroad experiences thus the focus on learning outside of the classroom and developing a community of learners. Costa Rica added a natural setting that included volcanoes, cloud forests, beach hiking, bird watching, and experiencing a variety of agricultural co-ops. A particular focus with the project is to investigate culture within the context of developing nation status with regarding education, culture, and history within the country as compared to the U.S. Themes that emerged include the environmental focus, lack of an army, dominance of agriculture and tourism, and cultural issues in the 21st century. Most of the educators left Costa Rica with a desire to stress active learning, community development and engagement, and the importance of culture in both individual and group contexts. Cuba We all felt very fortunate to be able to visit Cuba, as the country had only recently been made more open to education tours from the U. S. Many left for Cuba with stereotypes gained from the media and our educational experiences. Cuba remains for most in the group, one of the most amazing experiences of our lives. Primary themes included again, comparing Cuba and the U. S., addressing stereotypes, and engaging in cultural experiences. We found an amazing people proud of culture, difference, and a love of English with many, many questions about the U.S. Unique issues for discussion included

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the lack of American cultural items, pop culture, or advertising. Comparisons emerged regarding health care, education, and of course U.S. / Cuban relations, including historical issues such as the embargo. Now, with relations easing, possibilities are endless, but a recent t-shirt I saw also speaks volumes, “Keep Cuba Weird.” Peru Peru is so much more than Machu Picchu, Incas and llamas that seem to dominate our knowledge of the South American country. The wonderful thing is that these cultural examples serve as powerful springboards for a dynamic country offering incredible connections to past and present. The powerful links between past and present, so strong in Peru, enable more natural linkages in comparing or investigating culture. Once again, geography, history, and developing nation status were themes that emerged time and again. Indigenous populations are a strong way to connect the cultures of Latin America with the U.S., and Peru is an excellent case study. Peru came alive through its vibrant colors found everywhere, on the clothing, in the cities, traveling through the mountains, and on the paths around Machu Picchu. Spain An ongoing conversation since the project began focusing on a present to past approach to investigating. One can’t study culture without exploring current culture in light of the past. And the Spanish connection too much of the western hemisphere is just so prevalent that returning to the “mother country seemed appropriate at some point. Spain represents so much influence on Latin America and Texas than culturally, we would be so lacking without it. An exploration of Latin America must be ongoing, and Spain as the “mother country” is quite daunting, just given its history. Much of the history is obviously bigger than life, but experience again, enables growth and understanding. THE FUTURE Unfortunately, we often generalize all of Latin American culture in teaching and learning so as to exacerbate stereotypes (Gonzalez, 2011; Takaki, 1993). Perhaps a thematic case study approach described within this article is one way to at least introduce culture. Every opportunity must be made to allow students various ways to explore. Fortunately, Hispanic culture is local culture, and localizing the investigation of culture is a strong strategy for ensuring more meaningful connections. Again, much could be done in allowing students to investigate their neighborhoods or larger local community. Mapping cultural influences, especially Hispanic culture in the context of this article, can tell us lots about our past, present, and future.

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POPULAR CULTURE/ALTERNATIVE TEXTS Latin Times—Rankings of Latin American Pop Culture, etc. http://www.latintimes.com/rankings General Video on Latin American History through Animation http://www.bing.com/videos/search?q=cartoon+history+of+latin+america&q pvt=cartoon+history+of+latin+america&FORM=VDRE Latin America on You Tube http://www.bing.com/videos/search?q=latin+america+on+youtube&qpvt=Lat in+America+on+You+tube&FORM=VDRE Top 25 Latin American Films http://www.latintimes.com/top-25-latin-american-movies-all-time-photos133232#slide/2 30 Essential Latin American Films http://www.tasteofcinema.com/2014/30-essential-latin-american-films-youneed-to-watch/ 10 Best Latin American Books http://www.telegraph.co.uk/culture/books/10629252/The-10-best-LatinAmerican-books-of-all-time.html Top 20 Latin American Books http://www.latintimes.com/top-20-latin-american-books-read-you-die-photos-133218 Top 35 Latin American Albums http://www.latintimes.com/top-35-latin-american-alternative-albums-alltime-listen-best-songs-photos-133264 RESOURCES http://www.clacs.illinois.edu/outreach/k14Educators.aspx http://latinamerica.isp.msu.edu/resources/teaching.htm http://www.loc.gov/teachers/additionalresources/relatedresources/area/latamer.html http://www.unc.edu/world/latin_am_resources.shtml

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http://vanderbilt.edu/clas/curriculum-resources/ http://www.brighthubeducation.com/middle-school-social-studieslessons/127689-teaching-latin-america/ http://www.historians.org/publications-and-directories/perspectives-on-history/april-2008/teaching-latin-america-a-comparative-approach SAMPLE REFERENCES Fernández-Armesto, F. (2014). Our America: A Hispanic history of the United States. New York, NY: W. W. Norton. Gonzalez, J. (2011). Harvest of empire. New York, NY: Penguin. Loewen, J. W. (2007). Lies My Teacher Told Me: Everything Your High School History Textbook Got Wrong. New York: The New Press. Loewen, J. W. (2010). Teaching what really happened: How to avoid the tyranny of textbooks. New York, NY: Teachers College Press. Stavans, I., & Alcaraz, L. (2012). Latino, USA: A cartoon history. New York: Basic Books. Takaki, R. (1993). A different mirror: A history of multicultural America. Boston, MA: Little, Brown and Company. Williamson, E. (2010). The Penguin history of Latin America. New York, NY: Penguin. Zinn, H. (2000). A people’s history of the U.S. New York, NY: Haper-Row.

TEACHING CULTURE National Association for Multicultural Education http://nameorg.org/ Rethinking Schools http://www.rethinkingschools.org/index.shtml Teaching History http://teachinghistory.org/ Teaching Tolerance http://www.tolerance.org/ Zinn Education Project http://zinnedproject.org/

CHAPTER 13

TEACHING PEACE AND WAR WITH MEDIA AND POPULAR CULTURE

When teaching war we need to use resources that not only “teach outside the textbook,” but also teach against the textbook. —Bill Bigelow, 2013 Social studies education does a good job of including war in its curriculum. Many critics suggest that much of social studies and particularly history education is the merely the teaching of war and conflict, moving from one to the next. While this might seem cynical, there is some truth in that much of what is taught focuses on heroification, exceptionalism, and a winner’s perspective of history. Nevertheless, since we must teach war and conflict, we can also integrate social contexts as well and work to improve the curriculum and instruction of this vital theme. As with any theme, students must be allowed to investigate issues and perspectives associated war and conflict. A topic such as war is quite complex, and we shouldn’t gloss over the “truths” herein—impact on humanity, death, destruction, suffering, power—in addition to the traditional ideas of the transmission of “facts” such as chronology, battles, events, and players. The difficult part that is Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 113–119. Copyright © 2016 by Information Age Publishing 113 All rights of reproduction in any form reserved.

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often missing is this messy part and just how and when to approach such “touchy” subjects. It is often said that Americans learn about the world when war occurs. This is unfortunately often true in that I’m not sure most of us could locate Vietnam, Afghanistan, or Iraq without the wars of the last 50 years. This says much about what goes on in our classrooms regarding contextualizing the world in that many of our classrooms remain teacher and textbook centered. Much needs to be done to address this ongoing issue. Caring educators desire classrooms that are student centered, creative, and rigorous, especially when investigating social studies and history. The ongoing issues of the human endeavor and the idea of “man’s inhumanity to man” should be addressed with hard looks at peace, war, and conflict. Integrating media and other forms of popular culture can enhance connections students need. These tools provide an intrinsic link that can lead to improved knowledge, skills, and dispositions when dealing with issues such as war. Teaching War and Conflict As a long time history/social studies teacher, I’ve found teaching about war the most difficult aspect of addressing content. I’ve struggled with the almost unquestioned approach to war in both American and world history textbooks and curriculum. It seemed almost matter of fact regarding each war or conflict that was to be addressed. It seemed that we were always oversimplifying a very complex and difficult event in history. The multiple voices, stories, controversies, perspectives, and issues with war and conflict are often overlooked in our approach to history. Excuses about no time for depth or inappropriateness for the age often won out, leading to a lecture, textbook reading, completion of handouts, then the test. Leading educators from Dewey to Freire to even Ravich today suggest a rethinking of what we are doing to our kids in the name of schooling. It is virtually impossible to really teach the history of the United States to or from 1877 in a year, for example. We must make decisions as to priorities for “covering” content and methods of instruction. While guides such as the TEKS can help, they only serve as a minimum; it is what students do with content that enhances knowledge, skills, and disposition for life. An ultimate goal for history and social studies is to facilitate rights and responsibilities as citizens both locally and globally. The possibilities for teaching peace, war, and conflict are endless. We must make this ongoing human struggle “come alive” for our students. Clips from war films, portions of documentaries, narratives from those involved, literature about war (fiction and nonfiction), current events and media, music about war, speakers who have experienced war, and community experiences such as museums and VA locations all are possibilities for integration. Linking the present and past through media and popular culture only help to make the classroom more dynamic for all involved.

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We must also not go over the edge the other direction as well, as interaction is vital in the social studies classroom. I remember a colleague in the not-to- distant past who used films to teach every war—American and world. I don’t know how she really did it, but she showed entire films one after the other. For the Civil War, students saw Glory, Gone with the Wind, Gettysburg, Gods and Generals, Andersonville, and Cold Mountain, not to mention bits and pieces of The Civil War by Ken Burns. Now this might be great in a semester-long course on Film and the Civil War in college, but 15+ hours of movies, no matter how great, would kill any enthusiasm for learning. I am sure there was little if any time for debriefing, reflection, or any student-centered activity. What to Do About the Content A number of alternative approaches can be integrated to ensure better teaching and learning of topics such as peace, war, and conflict. One of the major issues in social studies is the need to better contextualize content for students. According to Dr. Steven Mintz, there is a reason students often spell history and social studies as “boring.” History is also often rated the least liked and least relevant of all subjects according to students. While chronology is important for students to learn, a thematic approach in history and social studies education may allow more depth and individualization. A theme such as conflict applies to all of human history, and teachers could apply higher-level strategies in comparing conflicts but also look at social and political connections as well. This would also allow a present-to-past observation to which students can often better relate. Much of what passes for knowledge in our classrooms is little more than just a lot of information imparted, with the expectation that that information is then given back in some form of assessment. Again, rather than focusing on dates and dead people, and information for information’s sake, allowing for stories, differing perspectives and controversies, and addressing the impact on economic, social, political, and environmental factors enhances depth of investigation. Internalizing of content occurs if there is meaning, context, and importance felt by the learner. While teaching and learning focus on gaining knowledge, skills development is just as vital. It really is what students do with the information or content that can make the difference in actual learning. Applying life skills such as collaboration, critical thinking, problem solving, writing, and researching leads to the development of responsibility as a citizen in a local-to-global context. One of the most important skills that can be integrated when looking at war and conflict is conflict resolution. A particular critique of Americans is their lack of understanding of (or even interest in) global issues. Perhaps this is an issue that should be dealt with in a variety of arenas—schools, media, and society in general. We have such a STEM focus that we are somewhat out of balance when it comes to appreciation and

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support for humanities and social sciences. This is occurring in our elementary schools when we see minimal amount of time for social studies and history. As a result, commitment to community, responsibility to others, and an appreciation of perspective and diversity may suffer, which can exacerbate an us-versus-them mentality. Wars have started over much less. Concluding With an Example: The Iraq War How do we teach recent conflict and war? Or do we ignore it for lack of “historical” perspective? How do we deal with teachable moments of conflict and war? Many suggest that these are too risky and controversial for our classrooms; but what is social studies and history education about if not to allow for the critical investigation of issues and events in the present and past? Teaching the Iraq War is difficult in many respects, but the immediate and ongoing connections in our lives necessitates its teaching. And contextualizing with past conflicts and wars can help, given that we allow for a variety of voices and perspectives. Fortunately, almost daily one finds new resources for investigating and teaching Iraq and recent Middle East conflicts. A general suggestion for teaching difficult issues in depth is to focus on collaborative learning and a centers approach, thus allowing more individual and collective choice in student engagement. A teacher will most always want to “set the stage” with various introductory activities, be they whole class, small group, or individual. Initiating a lesson with an open-ended question, a film clip, a song, a reading, or something creative of high interest will enhance the start. Even a clip of Bush’s Iraq invasion speech might “incite” interest. How to divide students into groups is up to the teacher, but groups should be between 3 and 5 for efficiency sake and to ensure collaboration. Centers can also be developed a number of ways, but an obvious one is by text or tool—films, readings, music, links, news clips, role-play/simulation, project development, history investigation, and such. Please see the lists below for sample resources. Films Redacted, The Hurt Locker, Green Zone, Restrepo, Control Room, The War Tapes, Standard Operating Procedure, Three Kings, Generation Kill, Jarhead.

Books The Assassin’s Gate, Fiasco, Forever War, The Yellow Birds, Billy Lynn’s Long Halftime Walk, Generation Kill, Voices from Iraq: A People’s History, Home Front.

Music 21 Guns, Devils and Dust, Shock and Awe, Courtesy of the Red, White, and Blue, American Soldier, Bomb the World.

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Links • http://popthirdworld.tumblr.com/post/44851383436/pop-culture-and-theiraq-war • http://abcnews.go.com/GMA/IraqCoverage/story?id=759253 • http://thinkprogress.org/alyssa/2013/03/19/1741611/how-iraq-changedeverything-from-the-hurt-locker-to-the-marine-the-rise-of-soldiers-inpop-culture/ • http://www.cleveland.com/nation/index.ssf/2010/09/iraq_war_written_ into_songs_an.html Lessons • http://www.educationworld.com/a_curr/profdev059.shtml • http://www.pbs.org/newshour/extra/lessons_plans/the-iraq-war-10-yearslater/ • http://www.rethinkingschools.org/war/index.shtml • http://learning.blogs.nytimes.com/2010/07/06/the-wars-in-afghanistanand-iraq-teaching-resources-and-essential-questions/?_php=true&_ type=blogs&_r=0 CONCLUSION General Sites • • • • • • •

Best of History: http://www.besthistorysites.net Digital History: http://www.digitalhistory.uh.edu Anti-War Sites: http://antiwar.com History of War: http://www.history.ac.uk/ihr/Focus/War/websites.html Zinn Education Project: https://zinnedproject.org/ Teaching Tolerance: http://www.tolerance.org Rethinking Schools: http://www.rethinkingschools.org/index.shtml

War Films • IMDB Film List: http://www.imdb.com/list/ls009678583/ • AMC Film List: http://www.filmsite.org/greatwarfilms.html • http://us.wow.com/search?s_it=topsearchbox.search&s_chn=66&s_ pt=aolsem&v_t=aolsem&q=best+movies+about+war • IMDB Documentary List: http://www.imdb.com/search/title?genres=war &sort=moviemeter,asc&title_type=documentary • Free Documentaries: http://topdocumentaryfilms.com/category/militarywar/ • http://documentaryaddict.com/military-and-war

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Teaching About War • Rethinking Schools: http://www.rethinkingschools.org/war/index.shtml • ISTEP: http://istep.sdsu.edu/documents/Webliography.pdf • Scholastic: http://www.scholastic.com/teachers/lesson-plan/guide-teaching-and-talking-about-war-books-children-and-teens • Zinn Education Project: https://zinnedproject.org/teachingmaterials/?themes=wars-related-anti-war-movements Video • Teaching about war: http://on.aol.com/video/a-veteran-on-teaching-kidsabout-war-517727665 • John Pilger: http://thoughtmaybe.com/media-and-war-challenging-theconsensus/ Articles • • •

• • • • • • •

http://www.randomhouse.com/highschool/RHI_magazine/active_citizens/ showalter.html http://www.edutopia.org/blog/teaching-war-todd-finley http://www.historians.org/publications-and-directories/perspectives-onhistory/may-2010/controversy-in-the-classroom/painful-pedagogiesteaching-about-war-and-violence-in-african-history http://www.war-times.org/teachingaboutthewars http://privateschool.about.com/od/history/a/terrorism.htm http://charterforcompassion.org/node/4449 http://rsnonline.org/index2580.html?option=com_content&view=article& id=512:teaching-on-war&catid=84:spotlight-on-teaching&Itemid=586 http://www.e-ir.info/2013/10/25/pop-culture-huh-what-is-it-good-for-alot-of-things-actually/ http://www.defencejournal.com/2000/aug/role-media-war.htm http://hilo.hawaii.edu/academics/hohonu/documents/Vol05x15MassMediaandPropaganda.pdf

Literature Goodreads list • https://www.goodreads.com/shelf/show/war-literature • http://us.wow.com/search?s_it=topsearchbox.search&s_chn=66&s_ pt=aolsem&v_t=aolsem&q=best+books+about+war • http://www.discoveryeducation.com/teachers/free-lesson-plans/war-literature.cfm • http://www.poets.org/poetsorg/lesson/literature-war • http://teachinghistory.org/teaching-materials/ask-a-master-teacher/25505

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• http://www.civilwar.org/education/teachers/lesson-plans/civil-war-lit-circle-lesson/civil-war-literature-circle.html • http://www.cateweb.org/california_english/documents/2008_June.pdf War, Media, and Popular Culture • http://en.wikipedia.org/wiki/War_in_popular_culture • http://www.globalissues.org/article/157/war-propaganda-and-the-media • http://www.warandmedia.org • http://www.globalresearch.ca/truth-propaganda-and-media-manipulation/23868 • http://archive.iwm.org.uk/upload/package/29/mediawar/links.htm Music • http://www.historynet.com/the-music-of-war.htm • h t t p : / / u s . w o w. c o m / s e a r c h ? s _ p t = a o l s e m & s _ i t = a o l s e m & s _ chn=66&q=best%20songs%20about%20war • http://en.wikipedia.org/wiki/List_of_anti-war_songs Conflict Resolution • http://www.crnhq.org/ • https://www.imis100us2.com/ACR/ACR/Default.aspx?hkey=6d51647be4cd-49d5-bc8a-36a4773a9054&WebsiteKey=a9a587d8-a6a4-48199752-ef5d3656db55 • http://www.crinfo.org/ • https://www.teachervision.com/classroom-discipline/resource/3038.html • http://www.teach-nology.com/teachers/lesson_plans/health/conflict/ • http://www.pbisworld.com/tier-2/teach-conflict-resolution-skills/ • http://www.discoveryeducation.com/teachers/free-lesson-plans/resolvingconflicts.cfm • http://www.pbs.org/teachers/thismonth/conflict/index1.html • https://www.teachervision.com/classroom-discipline/resource/3038.html • http://www.elacommoncorelessonplans.com/literature-reading-standards/ exemplars-g-9-10/short-story-guides-lessons/short-stories-teaching-conflict.html REFERENCE Bigelow, B. (2013, March 18). Ten years after: How not to teach about the Iraq War. Common Dreams. Retrieved from http://www.commondreams.org/view/2013/03/18-4

CHAPTER 14

MAKING HISTORY MATTER Popular Culture and 9-11

People killin’, people dyin’ Children hurt and you hear them cryin’ Can you practice what you preach And would you turn the other cheek Where is the love (the love) Where is the love (the love) It just ain’t the same, always unchanged New days are strange, is the world insane If love and peace is so strong Why are there pieces of love that don’t belong — Where is the Love? Black Eyed Peas, 2003

Fifteen + years—it seems like yesterday, yet it also seems so long ago. The yearly anniversaries/commemorations come and gone and media once again, has “guided” us—both good and bad. I wonder how 9-11 and the issues surrounding the event are being integrated in our classrooms. We have a national day of service Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 121–126. Copyright © 2016 by Information Age Publishing 121 All rights of reproduction in any form reserved.

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and remembrance, Patriot Day and Constitution Day; and both are often considered a reaction to the events of 9-11. But once again, as is so often the case with commemorations, are we really allowing our students deep investigation or is it just too sensitive? Are we doing the one day remembrance and then forgetting the rest of the time or are we truly integrating ideas and issues meaningfully in our teaching and learning? Many call 9-11 a defining moment in U.S. history; many of us would agree. But how we approach and teach 9-11 now and in the future is important. Do we focus on American exceptionalism and blind patriotism or do we allow for more critical investigation in linking local to global through an historical lens, or is there some balance that can be found somewhere? Media and popular culture offer a variety of texts and perspectives allowing for meaningful connections. A critique of history education is that we often focus on the transmission of facts at the expense of multiple perspectives and depth of investigation—9-11 deserves both—an analysis of the facts leading to historical investigation. This is not calling for the reading of the conspiracy theories, but at least allowing for depth of understanding, implications of actions, and knowing that there are differences of perspectives in history. And like any theme or topic in history, 9-11 warrants such context. All history education necessitates context and connections through a variety of texts and perspectives, focusing on critical investigation and questioning. Media Every year around 9-11, media outlets seem to saturate our lives with commemorations, analysis, debates, documentaries, interviews, and remembrances. It almost becomes a 24 hour 9-11 channel everywhere one looks—TV, Internet, print media. What is the responsibility of media regarding these presentations? How do various individuals and groups in society react to some of this? How do educators teach the skills to sift through the tremendous amount of information? Any history or social studies class should be integrating an investigation of current events and issues as they provide the context needed to connect to what students know. Teachable moments are obvious tools that many teachers grasp, although a major concern seems to be an increased ignoring of teachable moments or the controversy that often surrounds the present. But 9-11 is still with us, and it often goes unaddressed in our schools. How 9-11 is addressed in the media and thus hopefully in schools makes for an ideal application of media literacy skills that have life skills connections. A major issue is that 9-11 is perceived by many to be too sensitive, or controversial. So how might we address this in our classrooms rather than ignore it? Popular Culture and 9-11 It’s fifteen-plus years later and popular culture has often been a saving grace regarding “making it through” such events. Again, despite the critique of popu-

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lar culture tied to marketing, bias, and “educational” value, popular culture has provided many opportunities we need for dealing with such a defining event. Numerous movies, songs, events, books, and other popular culture texts have been created as reactions to, analyses of, tributes to, or critiques of 9-11 and its aftermath. An interesting introduction for the classroom is the YouTube video 9-11 and the Impact on Popular Culture. Another good introduction to linking 9-11 and popular culture is the recent documentary produced for the Bio channel titled When Popular Culture Saved America. Several articles have been written for newspapers through the years that also analyze how popular culture addressed 9-11 (Dansby, 9-9-11, Huffington Post, 9-10-11). Any social studies educator should integrate the teaching of 9-11 into their classroom; and hopefully not as a short one-time commemoration. We of course should acknowledge the day and event through media and pop culture integration, but we should also go much deeper. The ideas and themes associated with 9-11 should be integrated throughout the year when looking at themes such as controversy, conflict, perspective, and global connections. A goal here is to recognize that our schools and classrooms need to allow for more variety and perspectives. Rather than censor or demean outright, allow for the integration of popular culture in teaching and learning. Popular culture can provide the tools, texts, and context needed to better connect students to history, social studies, and societal issues. Teaching 9-11 There are many places one can go in researching how to teach 9-11. A recent Google search on Teaching 9-11 yielded over 60 million links; that is obviously very daunting. Teaching Tolerance http://www.tolerance.org/ , Rethinking Schools http://www.rethinkingschools.org/index.shtml, and Huffington Post http://search. huffingtonpost.com/+search?q=teaching+9-11&s_it=header_form_v1 are just a few sites that have specific curricula focused on 9-11 and related themes. There are several pieces in newspapers in addition to those previously mentioned that address the rationale and issues for teaching about 9-11. Several newspapers have good articles online: http://learning.blogs.nytimes.com/2011/08/29/ teaching-911-why-how/; http://learning.blogs.nytimes.com/2011/09/01/teaching911-responding-to-crisis-with-students/; http://www.latimes.com/news/nationworld/nation/september11/la-me-911-teach-20110911,0,7084584.story. Additionally, there are numerous online videos and regular documentaries on 9-11. A YouTube search yielded 38 million hits. Many of these are questionable of course, but many are excellent links and can be used by using snagging software if You Tube is censored. Googling 9-11 documentaries also provides numerous sites. Some of the best sites are documentaryaddict.com, documentaryheaven. com, and http://topdocumentaryfilms.com/category/911/. As with any theme, the suggestion here is to integrate a variety of popular culture and media sources so as to ensure critical analysis and investigation of multi-

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ple perspectives. Literature, music, movies, television, technology (Internet), and art all offer multiple resources for integrating ideas and issues on 9-11. Another great place to start is with the comics. See http://cartoonistsremember911.com/ for 10 years of 9-11 tributes and even commentary through the comics. Themes may range from a general overview to an ESPN approach (Economic, Social, Political, and Environmental) and be integrated in numerous ways, but centers or small group investigations allow for more student-centered connections. Students could be placed in groups with each group investigation 9-11 through a different popular culture text. The group would then be responsible for developing projects and teaching others using their popular culture text. Centers could also be developed either by each group (for others to rotate through) or by the teacher for 9-11 investigation through these alternative texts. Allowing students to research and use their own choices for popular culture texts will only enhance individual accountability and group connections. CONCLUSION Yes, it’s 10 years on and perhaps we could do a better job of teaching and learning regarding 9-11. As with most any theme, media and popular culture offer texts and tools that might allow students to really critically analyze and synthesize controversy and current issues such as 9-11. It is difficult to find a place for these themes, but really, what matters most is connecting present and past in social studies and history. For that is how we can better provide context and meaning. And when you trust your television What you get is what you got Cause when they own the information, oh They can bend it all they want That’s why we’re waiting Waiting on the world to change Waiting on the World to Change — John Mayer, 2006

RESOURCES Movies • • • • • • • •

United 93 World Trade Center The Hurt Locker Reign Over Me Taxi to the Dark Side Remember Me Cloverfield Fahrenheit 9/11

Making History Matter •

• • • • • • • • •

The Tillman Story Beyond Belief Rebirth The Love We Make New York Zero Dark Thirty Pre September Extremly Loud and Incredibly Close

Television • • • • • • • •

Rescue Me Fringe Family Guy Concert for New York City 102 Minutes that Changed America Inside 9/11 Countdown to Ground Zero Into the Fire

Literature • • • • • • • •

In the Shadow of No Towers—Spiegalman, Art The Emperor’s Children—Messud, Claire Netherland—O’Neill, Joseph Saturday—McEwan, Ian Everyman—Roth, Phillip Terrorist—Updike, John Falling Man—Delillo, Don The Good Life—McInerney, John

Music • • • • • • • • • • •

Where is the Love—Black Eyed Peas Freedom—Paul McCartney Empire State of Mind—Jay-Z and Alicia Keys Where Were You?—Alan Jackson The Rising—Bruce Springsteen Tuesday Morning—Melissa Ethridge On That Day —Leonard Cohen What More Can I Give—Michael Jackson Song for the Lonely—Cher I Can’t See New York—Tori Amos Boeing 737 —The Low Anthem

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Quality —Tahib Kwali Lasers —Lupe Fiasco I was here — Beyoncé 50 cent —Patiently Waiting

Websites Popular Culture and 9-11 • Teaching Tolerance: http://www.tolerance.org/ , • Rethinking Schools: http://www.rethinkingschools.org/index.shtml • Huffington Post: http://search.huffingtonpost.com/search?q=teaching+911&s_it=header_form_v1 Articles on Teaching and 9-11 • http://learning.blogs.nytimes.com/2011/08/29/teaching-911-why-how/ http://learning.blogs.nytimes.com/2011/09/01/teaching-911-respondingto-crisis-with-students/ • http://www.latimes.com/news/nationworld/nation/september11/la-me911-teach-20110911,0,7084584.story Online Documentaries About 9-11 • http://topdocumentaryfilms.com/category/911/ Comics About 9-11 • http://cartoonistsremember911.com/

CHAPTER 15

YOUTH PARTICIPATORY POLITICS Rethinking Civic Education and Engagement for the 21st Century

Get up, stand up, stand up for your right Get up, stand up, don’t give up the fight Get up, stand up. Life is your right So we can’t give up the fight Stand up for your right, Lord, Lord Get up, stand up. Keep on struggling on Don’t give up the fight —Bob Marley INTRODUCTION UNESCO defines citizenship education as “educating all, from early childhood, to become clear-thinking and enlightened citizens who participate in decisions concerning society” (http://www.unesco.org). A particular controversy is that many nations see citizenship education as socialization into almost a blind patriotism toward their own country. Citizenship education can definitely be placed on a continuum, but if a society espouses democratic principles then citizenship Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 127–135. Copyright © 2016 by Information Age Publishing 127 All rights of reproduction in any form reserved.

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education must challenge issues such as ethnocentrism, blind patriotism, and exceptionalism (Brown, 2011). Citizenship education in a democracy really should enhance individual and community responsibility, mutual respect, understanding of diversity and perspectives, critical thinking and active involvement in a society. Our state and society in general are in crisis when it comes to citizenship education. Many will claim that that is the role of social studies, and that’s true, but social studies often remains about transmission of information, narrow conceptions of history and social studies, and is often ignored because of high stakes testing (Loewen, 2005). Often little effort is provided toward developing skills and dispositions regarding the social studies (and definitely citizenship education). Citizenship is often relegated to that lowest level of engagement, voting, and the U.S. is even very low on that scale, when compared to other nations. Citizenship education must become a priority in the 21st century, and not one that perpetuates the status quo. Citizenship education must facilitate life skills and dispositions, along with knowledge necessary for addressing issues of this century, both locally and globally. According to the Citizenship Foundation (citizenshipfoundation.org), democracies need active, informed, and responsible citizen; citizens who are willing to take responsibility for themselves and their communities, and contribute to the political and social / cultural process. Genuine involvement in public life is an ultimate goal, and that must be facilitated in schools, but also in society as a whole. An excellent synthesis that provides a brief history, status, and ideas for teaching of citizenship education in the U.S. is “Citizenship Education in the U. S… ” by Walter Parker (2014.) CIVIC ENGAGEMENT—LOCAL TO GLOBAL CONTEXTS According to Flanagan and Levine (2010), young people are less likely to exhibit most of the characteristics of citizenship. This list might be a good place to start with students in addressing issues and ideas of citizenship, perhaps by developing a survey as to involvement in the community or (depending on student age) importance of the following. • • • • • • • • • •

Belonging to at least one group Attending religious services at least monthly Belonging to a union or community organization Reading newspapers at least once a week Voting Being contacted by or being involved with a political party Working on a community project Attending club meetings Believing the people are mostly trustworthy Volunteering

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Parker (2014) suggests three primary questions that must be addressed regarding citizenship education today: Question 1—Do we want a liberal or illiberal democracy? Question 2—Who has legitimate educational authority? Question 3—Should schools teach toleration and critical thinking? A society interested in democracy must address these questions according to Parker and he suggests that the pedagogical suggestions tied to addressing these questions stem from Dewey (1985). While social studies and history remain dominated by traditional textbooks, lecture, and multiple-choice tests, there is hope as new technologies, demographic changes, knowledge, skills, and dispositions needs for this century, and global crises necessitate a rethinking and redoing. An increasing struggle regarding citizenship is balancing one’s national citizenship and that of being a global citizen. Increasing global issues, the ease of global communication, cross-cultural exchanges, and global interdependence have all contributed to a need for improved global citizenship education (Merryfield, 2014). Many of the same themes, ideas, and topics discussed earlier apply to global citizenship, only on an obviously broader scale (the Butterfly Effect has become much more appreciated the last half century). Additional ideas, again building on those mentioned earlier include issues of sustainability, multiculturalism, equity and social justice, recognizing perspectives, cross-cultural communication and exchanges, and global service. TEACHING AND LEARNING In many instances we have ignored meaningful citizenship education during at least the last few decades. Who can deny that STEM, high stakes testing, traditional teaching, and even the imposition of narrow curriculum has impacted social studies and citizenship education? These are just a few of the reasons that the US has one of the lowest voter turn-outs than most democracies in the world, that US citizens seem ignorant when compared to others regarding history and social studies knowledge, that volunteerism is the US is ay an all time low, and that we have an out of control school to prison pipeline. A rethinking and reorienting is greatly needed in balancing curriculum and instruction in our schools, particularly if we are truly interested in preparing students for 21st century life. This entails mandating critical citizenship education beyond the narrow confines of minimum standards. Doing citizenship is really the approach we should take by promoting service programs and projects, internships, partnerships with community organizations and government entities, as well as problem and project based investigations in our classrooms. Citizenship education necessitates investigating and debating relevant issues and controversies, cooperative and collaborative engagement, active and interactive learning by

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getting out of the 4 walls of the classroom, and allowing for critique and questioning (Maitles, 2013). A thematic approach to citizenship education negotiated by all stakeholders enhances the possibilities of context and connections for sustainability in teaching and learning. Themes might include the following: • Democracy and authoritarianism • Equality, diversity, and social justice • Individual and community • Rights and responsibilities

• • • •

Cooperation and conflict Freedom and order Power and authority Local and global

Likewise, Education World suggests five overarching themes tied to citizenship: • • • • •

Honesty Compassion Respect Responsibility Courage

Examples of topics that fit within themes might include the following • • • • • • •

Globalization Human rights War and peace Hunger Service Social Issues Environmental Issues

• • • • • • •

Climate change Education Protest Infrastructure Economic Issues Cultural Issues Political Issues

Sample organizations that offer curriculum and student-centered citizenship education activities include Facing History and Ourselves, Teaching Tolerance, Zinn Education Project, Rethinking Schools, United Nations Organization, UNESCO, and Law Related Education. Regardless as to the curriculum developed or used or the instructional strategies applied, themes and topics should definitely be negotiated with students rather than imposed. A companion theme linked to the general idea of citizenship education is the promoting of digital citizenship. This is especially important with the dominance of the internet and the growth of social media in society. Topics that need addressing within the context of citizenship education include safety and privacy, screen time, social media, apps and downloads, texting and calling, communication and respect, and online video and cameras. Again, rather than censoring and dismissing digital natives, we must allow for their active involvement with technology

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through the knowledge, skills, and dispositions focus mentioned earlier (Kahne, Hodgin, & Eidman-Aadahk, 2016). A particular issue regarding digital literacy or citizenship is the massive amount of information available on the internet. Information is not knowledge (an ongoing debate in education) and critical thinking skills regarding this massive amount of information is greatly warranted. Skills tied to information include finding, leveraging, evaluating, validating, synthesizing, and communicating information. As regarding Bloom’s taxonomy, our schools don’t go beyond remembering and understanding enough so as to develop these skills. THE ROLE OF MEDIA AND POPULAR CULTURE Media, technology and popular culture all have large impacts on society, thus their influence on politics and civic engagement are likewise important to address. Mainstream media is consistently under attack by critics regarding bias, consolidation, and the profit motive. Alternative media via the internet has become much more influential, especially among younger generations. Finally, music, streaming services, film, and video games also play a role in the issue of civic engagement. Reddit, YouTube, and Comedy Central are currently examples of choices for information gathering among younger people. Interaction occurs with social media sites such as Facebook, Twitter, and Snapchat. Things are changing rapidly regarding what has been called participatory politics in contrast to traditional institutional engagement, and educators need to rethink these processes in order to effectively enhance civic education in teaching and learning (Rundle, Weinstein, Gardner, & James, 2015). Regarding youth participatory politics, core practices linked to “essential, knowledge, skills, and dispositions” mentioned earlier and highlighted in most social studies / history standards include investigation and research, dialogue and feedback, production and circulation, and mobilizing for change and engaging (Kahne, Hodgin, & Eidman-Aadahk, 2016). The key is to adapt curriculum, instruction, and engagement to address these practices as expanded in the digital age through increased opportunities for youth and for educators to enhance context and connections for their students through these new skills, tools, and practices. The idea is to allow for technology use through BYOD (Bring Your Own Device) and to have availability of new technologies to ensure equity regarding issues of SES, ethnicity, race, gender, etc. We must also teach the skills of rights and responsibilities while using these tools, rather than employing reactionary techniques such as censorship. There is a reason that students go to Reddit, Facebook, Twitter, Youtube, and the internet in general for information. Students are even going to the internet to watch politically oriented downloads of Samantha Bee, The Daily Show, Amy Schumer, and viral YouTube videos. There is a reason that Black Lives Matter, The Occupy Movement, the Latino protest of immigration policy, the Bernie Sanders campaign, LBGT progress, or other recent movements developed and experience success. Non-traditional ques-

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tioning of the mainstream and activism through social media and other forms of youth participatory politics enabled such movements to flourish. Civic education and engagement is not relegated to the classroom, but the classroom is where students should be allowed to develop their knowledge, skills, and dispositions necessary to effect change in their century. CONCLUSION Many, if not most educators would say that our students just don’t know about civics or engagement—there are reasons for that. Rather than blaming and calling out some conspiracy theory, we must be on the front lines in advocating for change. That is what civic engagement is all about –more than passive teaching, it’s about modeling, doing, acting in the world. What pedagogy we use to ensure meaningful civic education is vital today; thus the need to rethink just how we as educators teach this stuff. Again, we often do a pretty good job of preaching democracy, but modeling and allowing democracy through youth participatory politics should be our goal. Allowing for voice, critique, controversy, and debate are vital to enhancing sustained civic education. A society that claims to be a democracy, but one that doesn’t do all it can to ensure equity and social justice through civic education and engagement is a democracy in peril. The same can be said for ignoring the need for high-level indepth investigation of history and social studies. There is much knowledge, and many skills and dispositions that are unique to social studies and history education. Allowing our kids to develop into engaged citizens is one. WEBSITES UNESCO http://www.unesco.org/education/tlsf/mods/theme_b/interact/mod07task03/ appendix.htm Citizenship Foundation http://www.citizenshipfoundation.org.uk/main/page.php?286 Democratic Life http://www.democraticlife.org.uk/citizenship-education/ UN Chronicle http://unchronicle.un.org/article/what-type-citizenship-education-what-typecitizen/ Principles of Citizenship Education http://python.espe-bretagne.fr/istepec/article.php3?id_article=84

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Facing History https://www.facinghistory.org/ Citizen Schools http://www.citizenschools.org/ iCivics https://www.icivics.org/ Street Law http://www.streetlaw.org/en/home Close Up https://www.closeup.org/ Kids Voting https://www.kidsvotingusa.org/ The Democracy Project http://pbskids.org/democracy/vote/ Center for Civic Education http://www.civiced.org/ Constitutional Rights Foundation http://www.crf-usa.org/ Model Congress http://www.crf-usa.org/ Model UN http://www.crf-usa.org/ http://www.nmun.org/

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RESOURCES Why Schools Need Citizenship Education http://www.theguardian.com/education/mortarboard/2011/apr/14/whyschools-need-citizenship Global Citizenship Education http://www.globaleducationmagazine.com/global-citizenship-education/ Citizenship Education in Europe http://eacea.ec.europa.eu/education/eurydice/documents/thematic_ reports/139EN.pdf Citizenship Education and Diversity http://www.sirius-migrationeducation.org/wp-content/uploads/2013/12/CitizenshipEducationReport-tot_SIRIUS_131203.pdf Service Learning http://www.socialstudies.org/system/files/publications/se/6504/650408.html Global Citizenship Education / Asia Society http://asiasociety.org/blog/asia/what-global-citizenship-education 50 State Comparison—Citizenship Education http://www.ecs.org/citizenship-education-policies/ Citizenship Education in the US https://education.uw.edu/sites/default/files/u284/Citizenship%20Education%20in%20the%20USA.Parker.pdf Reflection, Action, and Variation within Global Citizenship Education http://blogs.edweek.org/edweek/global_learning/2015/11/reflection_action_ and_variation_within_global_citizenship_education.html Civics and Citizenship Education—Australia http://www.civicsandcitizenship.edu.au/cce/

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VIDEO Global Citizenship Education https://www.youtube.com/watch?v=kVr8SH0t8EI https://www.youtube.com/watch?v=XVSgbU6WVSk https://www.youtube.com/watch?v=tPdtGrnj7sU REFERENCES Brough, M., & Shresthova, S. (2012). Fandom meets activism: Rethinking civic and political participation. Transformative Works and Cultures, 10. Brown, A. (2011). Why schools need citizenship. The Guardian. Retrieved from theguardian.com/education). Delander, B., & Millard, M. (2014). Preparing students for civic life. National Center for Learning and Civic Engagement. Dewey, J. (1985). Democracy and education. Carbondale, IL: Southern Illinois Press. (Originally 1916). Delhaxhe, A. (2012). Citizenship education in Europe. Education, Audiovisual and Cultural Executive Agency. Flanagan, C., & Levine, P. (2010). Civic engagement and the transition to adulthood. The Future of Children, 20(1), 159–179. Kahne, J., Hodgin, E., & Eidman-Aadahk, E. (2016). Redesigning civic education for the digital age. Theory and Research in Social Education, 44(1), 1–35. Maitles, H. (2013). What type of citizenship education? UN Chronicle. L(4). Merryfield, M. (2014). Crossing culture and global interconnectedness. Leaders in Social Education, 111–122. Parker, W. (2014). Citizenship education in the United States. In The handbook of moral and character education (pp. 347–367). New York: Routledge. Rundle, M. Weinstein, E. Gardner, H, & James, C. (2015). Doing civics in the digital age. Youth & Participatory Politics Research Network. Oakland, CA.

CHAPTER 16

THE ARTS OF TEXAS ARE UPON YOU The Possibility of Public Art

There are more valid facts and details in works of art than there are in history books. — Charlie Chaplin, www.goodreads.com Art teaches nothing, except the significance of life. —Henry Miller, www.goodreads.com From Willie Nelson to Beyoncé to Elisabet Ney to Larry McMurtry, the kind and quality of arts in Texas are astounding. Be it music, art, film, media, or other arts such as literature, Texas is ripe with wonderful examples that can be integrated in to any number of social studies themes. Past, present, and certainly future arts and artists provide links and connections in the classroom that help make social studies come alive. The Texas Commission for the Arts is a great place to start investigating the numerous possibilities (http://www.arts.state.tx.us/). This organization promotes Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 137–141. Copyright © 2016 by Information Age Publishing 137 All rights of reproduction in any form reserved.

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arts in schools and the community as vital to who we are as humans. Links found on the website also open up possibilities regarding art, including public art and folk art, as well as arts such as music, literature, and media. Art on Art is an online arts in Texas site offering current shows and events (http://www.artonart.com/). Another interesting place to start looking at all Texas has to offer in the name art and artists is a Wikipedia entry listing famous Texans: http://en.wikipedia.org/ wiki/List_of_people_from_Texas#Film.2Ftheater.2Ftelevision. Hopefully future endeavors here will specifically concentrate on music, literature, film and the like. Nevertheless, the focus of this foray into Texas arts is on public art. Most cities, towns, and suburbs in Texas have samples of public art. Unfortunately, these are often taken for granted and virtually ignored. Regardless, public art provides additional linkages often not found elsewhere. It also enables students to actively explore their community and perhaps even create their own public art. Again, a great place to start is the public art site from the Texas Commission on the Arts (http://www.arts.state.tx.us/index.php?option=com_weblink s&view=category&id=161&Itemid=140 ). Typing in “public art” or a city/town name followed by the words “public art” yields many links to public art in various communities. Much can be said about public art; often one finds controversy surrounding public art, especially with contemporary pieces and graffiti art. Public art is broadly defined as art placed in a public space. Several organizations including the Public Art Network (http://www.artsusa.org/networks/public_art_network/default.asp) Americans for the Arts (http://www.americansforthearts.org/), and the National Endowment for the Arts (http://www.nea.gov/) offer support and information on public art. The impact of public art on a community is priceless and immeasurable and once experienced it only appreciates. Public art has the power to energize our public spaces, arouse our thinking, and transform the places where we live, work, and play into more welcoming and beautiful environments that invite interaction. Public art can make strangers talk, children ask questions, and calm a hurried life. It enhances the quality of life by encouraging a heightened sense of place and by introducing people to works of art that can touch them and generations to come. (http://nnpaf. org/what_is_art.html)

Eisner (2002) suggests that arts are vital in teaching and learning by offering ten lessons that integrating the arts teach: • The arts teach us to make good judgments about qualitative relationships. • The arts teach us that problems can have more than one solution and that questions can have more than one answer. • The arts celebrate multiple perspectives. • The arts teach us that in complex forms of problem solving purposes are seldom fixed, but change with circumstance and opportunity. • The arts make vivid the idea that words alone exhaust what we know.

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The arts teach us that small differences can have large effects. The arts teach us to think through and within a material The arts help us learn to say what cannot be said. The arts enable us to have experiences we can have from no other source.

Likewise, the Museum of Fine Arts, Houston suggests that the arts make learning relevant, encourages self expression, connects students to the world, and promotes life long learning (mfah.org). Public art is a particular strength among Texas arts. The issue is that many of us take it for granted, are just unaware of the abundance, or have had few opportunities to interact with it. That is the great possibility for linking social studies and public art. Public art necessitates experience and interaction within the community; something we really need to do more of in social studies. Public art facilitates social issues investigation, interdisciplinary teaching and learning, and thematic approaches in social studies. All it takes is a little research and planning to become aware of public art in our communities. Integrating the arts, such as public art in social studies help our students become more whole human beings. ACTIVITIES Public Art Experience (Using Houston Examples) Please review some of the following public art web sites for Houston. • • • • • •

• • • • • •

Houston Art: http://www.houstontx.gov/municipalart/index.html Houston Public Art: http://www.publicartinla.com/other_cities/houston/ http://www.guidespot.com/guides/houston_public_art http://blogs.chron.com/artsinhouston/2008/09/houstons_public_art_so_ far_so.html http://www.heritagepreservation.org/NEWS/Houston.htm Public Art Map: http://www.houstondowntown.com/Home/Lifestyle/ WhatToDo/PerformingandCulturalA/PublicArt/DowntownPublicArtTour/ Downtown%20Public%20Art%20Tour.PDF Project Row Houses: http://projectrowhouses.org/ The Art Guys: http://theartguys.com/PublicArt.html Art is all around us—Houston: http://www.houstonpbs.org/publicart/ Houston Arts Alliance: http://www.haatx.org/civic/general-information/ public-art-in-houston/ UH Public Art: http://www.advancement.uh.edu/arttour/ The Orange Show (including Art Car and Beer Can House): http://www. orangeshow.org/index2.html

Physically visit at least 2 public art sites and complete the following for each experience.

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Overview/summary of the public art Analysis/critique of the public art What issues/ideas/social connections does the public art express? Compare this public art with other art (perhaps found in museums). Compare this experience with an art museum experience.

Scenario Through the last several years, funding for arts education across the country has been cut. Your district is no different. Your district has chosen each of your groups to investigate arts education issues for a possible increase in funding. Following are the representative groups: • • • • •

Arts Educators Other Educators (math, science, social studies, language arts) Parents Business and Community Members District Administrators

Your role is to organize as a group to determine who will investigate various areas/ideas in arts education. You will then research, come back to your group, and report your findings. You will then develop a report for the district to be presented to all groups. In the report you will synthesize your findings and present a recommendation. Be as specific as possible regarding the recommendation. Funds are limited, therefore, if you decide to recommend increased funding you need to decide what will be cut to allow for the funding. Creating Public Art Provide an introduction to public art using readings, websites, and the public art experience. • Choose a class theme/content theme/social issue. • Have students individually or in small groups create a public art space (and public art pieces) for the classroom/school/community. • Have students reflect on others’ projects using the public art experience handout. RESOURCES Arts Quotes • http://www.quotationspage.com/subjects/art/ • http://www.princetonol.com/groups/iad/lessons/middle/quotes.htm • http://www.thinkexist.com/English/Topic/x/Topic_201_1.htm

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Arts Education Readings • http://www.newhorizons.org/strategies/arts/front_arts.htm • http://findarticles.com/p/articles/mi_m1319/is_2_33/ai_71634790 • http://www.districtadministration.com/viewarticle.aspx?articleid=934 Arts Education PSA’s (Video) • Importance of art: http://www.youtube.com/watch?v=yy5S2UmbiEs&fea ture=related • http://www.youtube.com/watch?v=qpunQZ4cUyI&feature=related • http://www.youtube.com/watch?v=G_wDtkP_esc • http://video.google.com/videoplay?docid=6993358784906431440&q=ar ts+education&total=5873&start=0&num=10&so=0&type=search&plind ex=0 Arts Education Websites • • • • •

http://www.aep-arts.org/ http://www.americansforthearts.org/services/arts_education/ http://www.artpromote.com/education.shtml http://www.princetonol.com/groups/iad/links/artedu.html http://www.artstarts.ca REFERENCES

Eisner, E. (2002). The arts and the creation of the mind. In Chapter 4, What the Arts teach and how it shows (pp. 70–92). New Haven, CT: Yale University Press. Museum of Fine Arts Houston. Why Art? Retrieved from www.mfah.org Newport News Public Art Foundation. What is Public Art? Retrieved from http://nnpaf. org/what_is_art.html

CHAPTER 17

TEXAS, OUR TEXAS Celebrating Texas Through Popular Culture

Celebrating Texas is fun and easy, especially through popular culture. The issue is celebrating Texas in teaching and learning. It really is unfortunate that Texas history is seen by many as bland and boring and is often the last choice of a teaching preference with history or social studies teachers. So much can be done to make Texas come alive in the classroom. And once again, popular culture is a tool that can facilitate this! After working on this chapter, I decided to try out some of the ideas in my Popular Culture in Education course at the University of Houston. I showed a YouTube video and asked students to go through the activities discussed later in the chapter. As an extension, I asked them to take the centers suggested and add additional example. That they did. I had left out some pretty important examples—Beyoncé, Willie Nelson, Austin City Limits, and Cadillac Ranch, if you can imagine that. I am sure many other examples and ideas can be added. That is just the idea— to start and make this your own! I am a native Texan. I have lived all over the state and have also traveled extensively through the state. I must say, we have a lot going on here. Our history is as dynamic as any and really mirrors that of our country in many ways. Our Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 143–148. Copyright © 2016 by Information Age Publishing 143 All rights of reproduction in any form reserved.

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geography is as varied as one can imagine (having few true mountains notwithstanding). Our people are incredible—diverse is an understatement. Possibilities and opportunities abound, and yet there are many issues. One need only look at education, health, and socioeconomic statistics to see that we have much to do. The intention with this chapter is to truly celebrate Texas through popular culture. As previous articles have stressed, there are many issues with integrating popular culture as a text in teaching and learning. Most of the issues deal with a lack of understanding and awareness regarding the potential and accessibility of popular culture as a text. I would suggest that those who dismiss, demean, and censor popular culture just don’t know that it offers us a contextual avenue to connect with our students. We all have our Texas stories or questions posed during our travels around the country or abroad. Many of these stories are popular culture influenced. I remember being on a train in Russia talking to a few Russian students. When they found out I was from Texas, one displayed his hand like a gun and said, “Bang, bang. Who shot JR?” While living in New Zealand I had constant comments and questions about cowboys, oil derricks, and guns. Yes, most were stereotypes, but definitely emerged from popular culture experiences. The common theme that popular culture is a powerful tool for “education” rings true. Texas is huge in popular culture. Just consider all that comes to mind when one thinks of John Wayne and The Alamo, Giant, King of the Hill, Dallas, Friday Night Lights, Deep in the Heart of Texas, The Eyes of Texas, or any number of other Texas pop references. Movies, music, television, books, and other forms of popular culture have all contributed to the Texas mystique—fact or fiction, right or wrong. That is the point; popular culture is a natural tool to enhance critical thinking, inquiry, and creative application. And it’s not just about the stereotypes. While the state curriculum necessitates Texas history at the fourth and seventh grades, we would do well to integrate Texas issues and ideas throughout the curriculum as ways to connect with students through a local to global focus. All social studies/history curriculum would be better served through comparisons and connections, as Texas has much to do with themes and issues in U.S. history and many global connections as well, past to present. Themes as wide-ranging as migration and immigration, trade and economics, social issues, global and cultural connections, and historical comparisons can all be made more rich using Texas as a case study or comparison. A start however, would be to celebrate Texas holistically through popular culture. There are many directions a teacher might go in celebrating Texas through popular culture. A start might be to share various songs; showing new and older videos of “What I Like About Texas” from YouTube make for a fun and highinterest focus. Asking students to complete a version of the song composing their own lyrics individually or in groups is a high-level extension. Classic songs such as Deep in the Heart of Texas, The Eyes of Texas, and Texas, Our Texas” are also

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good ways to start. The idea is to allow for depth of investigation and to challenge stereotypes through inquiry and questioning. As suggested in a previous chapter, centers are a great way to integrate popular culture in teaching and learning. Continuing with the theme of celebrating Texas, centers could be developed along the TEKS or NCSS standards, such as history, geography, government, economics, culture, and the like. A more studentcentered approach would be to focus on various examples of popular culture as the actual centers. Centers could be developed focusing on music, movies, television, art, culture, ads, technology, and others. The list of sites provided offer good resources for the centers. Obviously, integrating centers in the classroom requires organization and management. Size of groups and number of centers, time in centers, movement from one center to the next, individual and group expectations, and general development of the centers must all be taken into account. Students should have specific directions and expectations for the centers. Project development and assessment are equally important. Portfolios and peer assessment are good methods to employ with centers. Each center should have access to the appropriate resources or technology. POSSIBLE CENTERS Music A music center could focus on categories of music or themes regarding music, such as music in history, social issues, or additional general songs about Texas. Other general songs include Songs about Texas, My Texas, Galveston, Deep in the Heart of Texas, Texas Our Texas, Texas on my Mind, That’s Right, (You’re not from Texas), If it Wasn’t for Texas, and Texas Song (from SpongeBob Squarepants). Texas is famous for a variety of music genres and a unit just focusing on Texas music could be very dynamic, along with just exploring songs that have a Texas reference or have Texas in the title. Texas blues, country, hip hop, Tejano, rock, and folk would each make great centers. Many famous musicians originated from Texas, including Lightnin’ Hopkins, Buddy Holly, Roy Orbison, Willie Nelson, Janis Joplin, Stevie Ray Vaughn, Selena, George Strait, ZZ Top, Chamillionaire, Pall Wall, Geto Boys, and Beyoncé, just to name a few. An investigation into artists, types of music, or lyrics would be a great way to celebrate Texas music. Investigating Texas history through music can be very exciting. Of course, allowing students to share their popular culture/Texas music examples will only help to connect with them. Movies Clips of movies are great ways to focus a lesson, provide thematic examples, and again, connect to visual learners. Movies can be used generically to look at Texas stereotypes on others’ views of Texas, historical themes or representations,

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or as a text for looking at social issues. A variety of movies can be used to teach Texas themes, including all the versions of The Alamo, Lonesome Dove, Sugarland Express, Giant, Tender Mercies, Apollo 13, Selena, Friday Night Lights, Lone Star, and the westerns such as Rio Bravo and Red River. There are many actors and directors from Texas and many other movies that have been filmed in Texas Television Much can also be done with television. Iconic shows such as Dallas or Walker, Texas Ranger are obvious choices; but Friday Night Lights, King of the Hill, Reba, and the new show Brothers are also examples. Even SpongeBob had a Texas-themed episode its first season, as did Family Guy (although the Family Guy episode is a bit controversial). The Eyes of Texas is a television-produced documentary programs about Texas interests. While many are longer running on television, episodes can be found on Hulu or tv.com. King of the Hill can also be found on the Fox television website. YouTube can also be used to find related videos. An excellent web series produced by Channel 55 in Houston is called Postcards from Texas. Each episode features vignettes about various aspects of Texas (http://www.houstons55.com/postcards-from-texas/). The website provides additional resources and links to the episodes. We also can’t forget about Austin City Limits, perhaps the best-known program celebrating Texas. Advertisements Texas is famous for its advertisement, “Don’t Mess with Texas.” There are numerous PSAs from famous Texans using the slogan, which can be found on YouTube; and these can be compared to other like ads or PSAs. “It’s Like a Whole Other Country” and “Everything is Bigger in Texas” are other slogans than have been used to celebrate or market the uniqueness that is Texas. Items at restaurants in Texas and elsewhere often also have Texas themes which can be explored. Talking about these slogans and showing examples of the “Don’t Mess with Texas” spots can be a focus to having students developing their own ads or slogans to celebrate Texas. Individual Texas cities and even areas within cities have marketing campaigns that students can also explore. “Weird” Texas A great way to celebrate Texas is to focus on the unique or weird features of the state; this will definitely be of high interest to students. The websites listed are a good start for exploring weird features of Texas. There are also books that highlight the uniqueness of Texas. There are many “urban” and not so urban myths out there that really fit into such an investigation, from the Marfa Lights, Austin and Houston bat colonies, Cadillac Ranch, the story of Jean Lafitte in Galveston, to strange laws that are still on the books. Students could explore the sights and texts

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as a research project focusing on themes or particular areas. One can find cool stuff everywhere, from people to businesses to names of things. Students could therefore develop projects that document the unique features of their city, area, neighborhood, or school. Culture and Symbols Is there a Texas culture? Many outside of Texas (and probably within as well) definitely think so. The various culture and symbols of Texas make for great celebrating. The six flags of Texas is a good place to start regarding diversity, but that leaves out many other cultures that make Texas unique. Black history or Hispanic heritage months are attempts to focus on cultural diversity in society, but we need to go much further by celebrating culture holistically and all the time. One can definitely celebrate culture through popular culture such as music, but in-depth investigations of cultures enable students to challenge stereotypes often perpetuated by media and popular culture. Thus, group investigation of various Texas cultures, present and past, and over time can be a fun project. Again, these must allow for multiple perspectives and examples, even within the individual culture. CONCLUSION It is easy to celebrate Texas, as there is much to celebrate. Investigating Texas through popular culture and alternative texts can be fun and creative. We cannot forget that we also must allow for critical inquiry and using popular culture and alternative texts to investigate issues in Texas. We should allow students to research and debate issues regarding social services in Texas, for example. Recent statistics in the Dallas Morning News, September 16, 2015, state that Texas is number 1 in the nation in most uninsured and still has about 50% of his population without a high school diploma. We all know the statistics in other areas such as teenage pregnancy. While all this is sobering and perhaps somewhat responsible for the stereotypes about Texas perpetuated in popular culture, media makes for a powerful tool to research such issues, and it only leads to developing critical thinking and problem-solving skills. The ideas presented here are general enough to be adapted in a number of contexts. Other popular culture centers are possible, such as print media, sports, food, or news/current issues. Another way to use popular culture more specifically would be to focus on specific themes or even time periods. Centers on Texas past, present, and future would be an interesting approach. A teacher could also have more skills-based centers such as technology, research, project development, readings, and popular culture (of course) if the focus were a content theme. Allowing for in-depth investigation of themes and content through multiple texts such a popular culture will make for exciting and inquiry-based student-centered learning and more positive attitudes toward social studies.

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Texas in Film • http://www.amazon.com/Great-Texas-Movies/lm/R2WBQ66DHXPS9V • http://www.texasdiary.com/shop/texas-movies.html • http://www.pajiba.com/guides/films-about-texas.php Texas Music • • • • • • • •

http://www.texasmusicmuseum.org/ http://www.txmusic.com/ http://www.texasmusicproject.org/ http://www.txstate.edu/ctmh/ http://en.wikipedia.org/wiki/Music_of_Texas http://www.txsongs.bluegrassbandsoftexas.com/ http://www.listology.com/list/songs-about-texas-andor-its-cities http://www.npr.org/templates/story/story.php?storyId=1847358

Texas Culture • • • • • • • •

http://en.wikipedia.org/wiki/Culture_of_Texas http://home.netcom.com/~wandaron/txhist.html http://www.texancultures.utsa.edu/ http://www.mytexasmag.com/ http://www.texasmonthly.com/ http://www.textraveler.com/ http://www.geocities.com/mrsjacksonsclass/texaslinks.htm http://www.texasbob.com/index.html

Unique Texas • • • •

http://www.texastwisted.com/ http://www.texasonline.com/portal/tol http://www.texas.com/ http://www.tpwd.state.tx.us/

CHAPTER 18

TEXAS POPULAR CULTURE A Case Study of Hubris and Exceptionalism

So I ask you today to join me in my fight for the ideals and values of the greatest people to ever inhabit this Earth, the people of the great state of Texas. —Greg Abbott, September 3, 2013, www.statesman.com/weblogs/first-read/2013 Texas is like America on steroids. Individualism, freedom, entrepreneurship, larger than life . . . that is the identity that is Texas. —Roy Spence, 2004, www.economist.com/node/1487487 What comes to mind when you think of Texas? What about Texas exceptionalism and hubris? What comes to mind when you think of popular culture and Texas? We all have our Texas stories or questions posed during our travels around the country or abroad. Many of these stories are popular culture influenced. I remember being on a train in Russia talking to a few Russian students. When they found out I was from Texas, one displayed his hand like a gun and said “Bang, Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 149–155. Copyright © 2016 by Information Age Publishing 149 All rights of reproduction in any form reserved.

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bang. Who shot JR?” While living in New Zealand, I had constant comments and questions about cowboys, oil derricks, and guns. Yes, most were stereotypes, but definitely emerged from popular culture experiences. Texas’ sense of exceptionalism and hubris emanates from any number of sources. The myth of Texas was born with its history (The Alamo, Lone Star State, Texas Rangers) and continues through to the present with politicians that don’t seem to care what others think of Texas (Race to the Top, Common Core, Affordable Care Act). Every so often politicians (Rick Perry and others recently) even use the threat of secession when things don’t go quite the Texas way. Texas even has more historical markers than all other states combined (our history is special). The book by Gail Collins, As Texas Goes (2013), is ripe with stories, case studies, and examples both funny and sad demonstrating this mythology of exceptionalism and hubris. The Texas model is touted recently regarding economics and education. No Child Left Behind is Bush adapting the state education accountability system to the federal government. The Texas economy is generally ranked as the 11th largest in the world, for example. A major issue is the blind eye provided to the catch 22 in all of this. The doublespeak of Texas leadership is incredible. Texas is at the bottom or near the bottom of practically every social category (per-pupil spending, number of insured, percentage of voters, children in poverty). Texas claims an economic miracle regarding jobs and unemployment rate, yet few discuss the promise of low-to-no taxes to companies relocating to Texas, the widening gap between rich and poor, or the low-wage jobs with few benefits. The fact that Texas is operating as a super-majority state suggests even worse issues in the near future. Following are some sample statistics: • • • • • • • • • •

Percentage of uninsured children: 1st (out of 50, obviously) Percentage of population with food insecurity: 2nd Percentage of non-elderly uninsured: 1st Teenage birthrate: 7th (Three cheers for abstinence education!) Overall birthrate: 2nd Percentage of population 25 years and older without a HS diploma: 1st Amount of CO2 emissions: 1st Amount of toxic chemicals released into water: 1st Amount of toxic chemicals released into air: 1st Amount of hazardous waste generated: 1st

Texas can’t get past its early history. We are still fighting the war with Mexico, what with ongoing immigration issues. We have yet to emerge from the good old days of the wild west, now with open and campus carry laws. We also can’t seem to find a balance between the public and private good. Texas hubris is made even more pronounced with corporatization/privatization of all things public (educa-

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tion, prisons, medicine, social services). And we definitely are proud of being the capital punishment center of the United States and high on the list in the world. Texas is first and foremost in using states rights as its argument to bolster its hubris. Texas leadership sees the federal government and particularly President Obama as a real threat. In commenting on Texas’ population growth, Lt. Governor David Dewhurst stated the following (2012): “With this challenge will come opportunity, but you can’t have opportunity without freedom. We must stand tall in the face of Washington, because our liberties, our values, our very future have been put on the line” (www.heritage.org/research/reports/2012). Texas has more than its share of embarrassing politicians—Rick Perry, Ted Cruz, John Cornyn, Gregg Abbott, Dan Patrick, Louis Gomert, Blake Farenthold—the list goes on and on. Just Google “stupid Texas politicians” and mindblowing examples will pour out from the web. The really sad thing is that these people are proud of their hubris and proud that Texas is seen the way it is. Popular culture plays a vital role is developing and perpetuating this Texas myth. Texas is huge in popular culture. Just consider all that comes to mind when one thinks of The Alamo, King of the Hill, Dallas, Friday Night Lights, The Eyes of Texas, Beyoncé, Willie Nelson, or any number of other Texas pop references. Movies, music, television, books, sports, and other forms of popular culture have all contributed to the Texas mystique—fact or fiction, right or wrong. That is the point; popular culture is a natural tool to enhance critical thinking, inquiry, and creative applications. And Texas is even a case study for investigating American hubris and exceptionalism. Texans seem proud to add to these images through ad campaigns such as Don’t Mess with Texas; Everything’s Bigger in Texas; and Texas, It’s Like a Whole Other Country. Fortunately, there are individuals, groups, and organizations challenging this ignorant mindset. The Texas Observer, Texas Monthly, Texas Freedom Network, and Community Voices for Public Education are examples of those challenging the status quo of Texas. [The idea of Texas exceptionalism] seems to both breed and encourage the xenophobic and tribalistic mentality that is arguably, at least in my view, our biggest problem. . . . The airs of arrogance, condescension, and superiority only stand to alienate the rest of the world’s citizens with whom we have to get along; it discourages our own citizens from feeling that we are all on level footing, and should therefore consider alternate opinions and perspectives in our decision-making processes as equally valid positions; and it negates any incentives we might otherwise have for learning about other places and cultures. (Leigh, 2013)

History Six Flags, The Alamo, Juneteenth, Galveston Hurricane, Kennedy Assassination, NASA, 4 Presidents, Lone Star State, Texas Rangers, Cowboys, Red State.

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Issues Immigration, demographics, oil and gas, education, social services, weather and climate. Movies (280+) The Alamo, Giant, Friday Night Lights, Texas Chainsaw Massacre, No Country for Old Men, Last Picture Show, Lone Star, Red River, Thin Blue Line, Viva Max, Crazy Heart (lots of westerns). TV (53) Dallas, Walker, Friday Night Lights, King of the Hill, Lonesome Dove, Bevis and Butthead, Reba. Music Austin City Limits, SxSW, Willie Nelson, Beyoncé, Lightnin’ Hopkins, ZZ Top, Erykah Badu, Archie Bell, Clarence Gatemouth Brown, T-Bone Burnett, Win Butler, Chamillionare, Paul Wall, Gary Clark Jr., Guy Clark, Kelly Clarkson, Van Cliburn, Ornette Coleman, Albert Collins, Rodney Crowell, Lyle Lovett, Kris Kristofferson, Miranda Lambert, Meat Loaf, Nelly, Steve Earle, Joe Ely, Kinky Friedman, Robert Glasper, Nanci Griffith, Don Henley, Stevie Ray Vaughn, Buddy Holly, Ray Wylie Hubbard, Waylon Jennings, Norah Jones, Janis Joplin, Scott Joplin, Robert Earl Keen, Phil Ochs, Roy Orbison, Sly Stone, George Strait, Usher, Townes van Zandt, Jerry Jeff Walker, Bob Wills, Johnny Winter, Michael Nesmith. Songs Deep in the Heart of Texas, Eyes of Texas, Yellow Rose of Texas, La Grange, Galveston, Streets of Laredo, Texas Flood, Red River Valley, Amarillo by Morning, Anybody Going to San Antone, Luckenback, Texas, Texas Our Texas, That’s Right, (You’re not from Texas), Screw You, We’re from Texas Ads Don’t Mess with Texas, Everything’s Bigger in Texas, and Texas, It’s Like a Whole Other Country. Celebrities Wes Anderson, Richard Linklater, Robert Rodriguez, Terrance Mallick, Gene Roddenberry, Carole Burnett, Larry Hagman, Joan Crawford, Bob Denver, Farrah Fawcett, Horton Foote, Jennifer Garner, Selena Gomez, Woody Harrelson,

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Mathew McConaughey, Ethan Hawke, Tommy Lee Jones, Steve Martin, Jim Parsons, Forest Whitaker, Owen Wilson, Robin Wright, Bill Hicks, Sports America’s team, The Texas Rangers, Spurs, Mavericks, Texans, Cowboys, Astros, Ernie Banks, Roger Clemens, Rogers Hornsby, Andy Pettitte, Frank Robinson, Nolan Ryan, Sammy Baugh, Earl Campbell, Tom Landry, Andrew Luck, Don Meredith, Adrian Peterson, Bubba Smith, Y. A. Tittle, Gene Upshaw, Vince Young, Clyde Drexler, Chris Bosh, Brittney Griner, Grant Hill, Shaquille O’Neal, Dennis Rodman, Shery Swoopes, Lance Artmstrong, George Foreman, A. J. Foyt, Zina Garrison, Jack Johnson, Wille Shoemaker. Books As Texas Goes, Issac’s Storm, Border Trilogy, Lonesome Dove, James Lee Burke, Sandra Cisneros, Justin Cronin, Larry McMurtry. Culture Tejano, Tex-Mex, BBQ, Rodeo, Sports, Conservatism, Cowboy culture, Size, Attitude. Links • Texas—Rich Hall Documentary https://www.youtube.com/watch?v=KOR8OdGfavg • Bud Light Commercial https://www.youtube.com/watch?v=Lsd7DGqVSIc • Don’t Mess with Texas—Willie Nelson https://www.youtube.com/watch?v=ZdgGPtrxk2U • Texas: America Supersized https://www.youtube.com/watch?v=QbVGxJVCMyI • The Alamo in 8.5 minutes https://www.youtube.com/watch?v=EWmr0Afr4f8 • The Republic of Texas https://www.youtube.com/watch?v=GbvQBKOYDbg • Screw You, We’re from Texas—Ray Wylie Hubbard https://www.youtube.com/watch?v=22Mrez7ahZA&list=PL02E36A7DD 931C0C0 • Texas—George Strait https://www.youtube.com/watch?v=xcscmwqt5eg

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• What I Like about Texas—Gary P.Nunn https://www.youtube.com/watch?v=PGukLuXzH1E&index=6&list=PL02 E36A7DD931C0C0 • That’s Right (You’re not from Texas)—Lyle Lovett https://www.youtube.com/watch?v=nMhaehb5AnE • Yeah, I’m from Texas—Texas Rap Anthem https://www.youtube.com/watch?v=D9VEZTtVAoE&list=PL02E36A7D D931C0C0&index=12 • Luckenbach, Texas—Waylon Jennings https://www.youtube.com/watch?v=3dXR5Dk8YNw&index=3&list=PL C7BB6D9F16F4A091 • San Antonio Rose—Bob Wills https://www.youtube.com/watch?v=6l7rLA9Jm1I&list=PLC7BB6D9F16 F4A091&index=5 • Texas Flood—Stevie Ray Vaughn https://www.youtube.com/watch?v=tWLw7nozO_U&index=11&list=PL C7BB6D9F16F4A091 • Texas When I Die—Miranda Lambert https://www.youtube.com/watch?v=0fqzvgAgUqQ&index=15&list=PLC 7BB6D9F16F4A091 • Galveston—Glen Campbell https://www.youtube.com/watch?v=N2tgVAML2gE&list=PLC7BB6D9F 16F4A091&index=17 • La Grange—ZZ Top https://www.youtube.com/watch?v=cnMFOeEPUks&index=25&list=PL C7BB6D9F16F4A091 • Ballad of the Alamo—Marty Robbins https://www.youtube.com/watch?v=PbX1JKknS04 • Texas—Tex Ritte https://www.youtube.com/watch?v=yQTIcL82t2g&list=PLC7BB6D9F16 F4A091&index=7 REFERENCES Abbott, G. (2013). On Texas exceptionalism. Retrieved from www.statesman.co/weblogs/ first-read/2013 Collins, G. (2013). As Texas goes. Leigh, K. (2013). The daily kos. Retrieved from http://www.dailykos.com/ story/2013/3/8/1192693/-Texas-Exceptionalism) Spence, R. (2004). Retrieved from www.economist.com/node/1487487

Bibliography Campbell, R. (2012). Gone to Texas. Oxford, England: Oxford University Press. Collins, G. (2013). As Texas goes. New York, NY: Liverlight.

Texas Popular Culture • 155 Eckhardt, C. (1997). Texas tales your teacher never told you. New York, NY: Taylor Trade. Friedman, K. (2003). Texas etiquette. New York, NY: William Morrow. Jilison, C. (2014). Lone Star tarnished. New York, NY: Routledge. Parker, R. (2014). Lone Star nation. New York, NY: Pegasus. Treat, W. et al. (2009). Weird Texas. New York, NY: Sterling. Varhola, M. (2012). Texas confidential. New York, NY: Clerisy Press. Wyly, S,.& Wyly, A. (2012). Texas got it right. New York, NY: Melcher.

CHAPTER 19

FILLING THE “HOLES” Youth Culture in Social Studies

Television, movies, music, and other youth provide tools for connections among our disconnected citizenry. Why not use these “alternative” texts, rather than belittle them? Just look at the success of Holes, Lord of the Rings, Twilight, Harry Potter, or the Diary of a Wimpy Kid books. There are also a number of graphic novels that are also popular and can be integrated in teaching, such as Scott Pilgrim. We owe it to our students to provide opportunities for critical analysis of youth culture. Film, television, music, books, and other forms of youth culture can provide rich opportunities for teaching and learning (Steinberg & Kincheloe, 1997). What is the role of youth culture in schools and society? Does youth culture have a role in the education process of our young? We need to address these questions because youth culture plays a very prominent role in our lives and is very important to our society, our citizens, and especially our children. Integrating youth culture as a tool in the social studies provides connections for our kids as we attempt to facilitate knowledge skills and dispositions. It is precisely in the diverse spaces and spheres of youth culture that most of the education that matters today is taking place on a global scale (Giroux, 1994). Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 157–163. Copyright © 2016 by Information Age Publishing 157 All rights of reproduction in any form reserved.

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A strong argument can be made that youth culture has become the most influential education institution for our children, and many seem quite frustrated by this. Our society has increasingly made youth culture a cornerstone of cultural identity, and we simply cannot ignore this (Buckingham, 1998). Rather than continue the traditional strategies in social studies methods, I try to model teaching and learning that stresses the necessity to make social studies come alive for our students. Therefore, my Social Studies Methods class integrates tools such as youth culture and “doing social studies” to help make relevant connections for students. Teachers are encouraged to learn from their students what their passions are regarding youth culture. They are then asked to integrate their students’ culture as tools to enhance social studies knowledge, skills, and dispositions. Tuning In Youth culture reflected in movies, books, television, music, youth, toys, technology, and fads can be used in a number of ways in education. The idea of empowering youth with teaching and learning that includes meaningful, challenging, integrative, value-based and controversial, and active approaches should be the goal (NCSS, 1994). Youth culture offers a natural integration; just imagine the power of movies, books, television, music, youth, toys, technology, and fads in promoting social studies. But what better way to enhance the idea of social studies than to integrate youth culture? As stated previously, youth culture is perhaps one of the few remaining avenues for possible common dialog and understanding. If nothing else, it often provides a context for connections to the world and sensemaking in the world. Engaging in youth culture causes our students’ eyes to light up; it encourages a passion often missing in our classrooms This dialog and common understanding with youth culture can be used to enhance social studies (White, 2003). Instead of focusing on censorship and dismissing youth culture, there seems little today that students get excited over and encourages social discourse more so than youth. Allowing youth to bring in their youth as they investigate issues, make connections, construct knowledge, and engage in sens making may very well be a threat to the entrenched (Daspit & Weaver, 2000). Nevertheless, youth culture is a powerful source for social change, and much can be said concerning the possibilities of youth culture in promoting social studies. Holes Holes (1998), by Louis Sachar, is about Stanley Yelnats, a boy who has quite a bit of bad luck. After being falsely accused of stealing sneakers, he is sent to a boy’s juvenile detention center called Camp Green Lake. Camp Green Lake is no camp, and there is no lake, and nothing green has ever grown there. The work each day is the same thing: dig a hole five feet by five feet, the depth being the length of your shovel and do not stop until you’re finished. The book twists and

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turns among a variety of characters and incidents that focus on life skills and learning. Holes offers a great opportunity to engage students in meaningful social studies through youth culture. It allows the context and connections to and for our students often missing in more traditional approaches to social studies. Stanley Yelnats is a kid many of our kids (as well as ourselves) can identify with, what with all the youth issues presented in the text and movie. From ideas regarding character to friendship and history, social studies issues are ripe for inquiry throughout Holes. The 2003 movie of the same title, and accompanying music soundtrack, provide additional rich resources to promote social studies teaching and learning. In addition to the book, film, and soundtrack, other resources that support the suggested approaches mentioned above include the book Survival Guide to Camp Green Lake and websites including http://disney.go.com/disneypictures/holes/. Several social studies themes emerge by using Holes and the accompanying resources. Sample themes that can be integrated at almost any level of social studies include • • • • •

Friendship Family Rules/Laws Cooperation Diversity

• • • • •

Interdependence Rights Racism Character Power/Authority

• • • • •

Adventure Perseverance Trust/Honesty Consequences Greed

In addition to the general themes listed above, each of the National Council for the Social Studies 10 thematic strands can be addressed with the integration of Holes and the accompanying resources (NCSS, 1994). By integrating the various tools and themes for Holes listed above, we more meaningfully address issues regarding learning styles and “real world” connections for our students. Intermediate/Middle Level Social Studies In the spring of 2003, I taught a social studies methods course designed to focus on student-centered approaches to social studies and ask teachers to think more broadly regarding social studies A group of 24 intermediate teachers who were taking a social studies methods course were asked to read the book and see the film, Holes. A primary component of the course is the integration of “Doing Social Studies” as course projects. These projects include community service, culture fairs, lectures, movies, museums, internships, and the like. Tied to this approach to the methods class is the idea of integrating a variety of tools to “turn kids on” to the joys of learning social studies. Youth culture, including movies, music, television, and literature, is advocated as a potentially

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powerful tool for teaching and learning in social studies. Rather than imposing our popular culture, the idea is to empower students by allowing them to use their culture to enhance connections in the social studies. As a result, we see the integration of youth culture such as SpongeBob Squarepants, Finding Nemo, Spiderman, Lemony Snicket’s A Series of Unfortunate Events, Dora the Explorer, Harry Potter, and the Black Eyed Peas. This particular project focused on the concept of transdisciplinary social studies—social studies that attempt to be more authentic and integrative toward realworld connections and youth culture. The project asked the teachers to compare the book and film, and also summarize, critique, and offer application ideas for the book and film in a narrative. They were also asked to engage in online sharing and discussion regarding their experiences with Holes. Of 24 teachers, 11 had previously read the book. A very rich component of the project included the analysis of the book and film by the teachers regarding social studies issues, ideas, and connections. An interesting debate occurred regarding the themes that were listed in the narratives. Many teachers had difficulty addressing values-based issues such as character, greed, trust, and the like in their classrooms, but saw Holes as a rich opportunity for integrating such themes. More traditional themes such as friendship, history, cooperation, and even diversity were also facilitated through the use of Holes, according to the teachers. The debate occurred when discussing appropriateness for various grade levels and integration into an already time-consuming and coverage-approach curriculum. Teachers often stated that open debate regarding values is often frowned upon in social studies teaching and learning. Another strong aspect included the application of ideas for social studies teaching and learning. Teachers offered a variety of activities, including role-playing, reading groups, journal writing, and cooperative-learning problem solving. Following is a synthesis of the application ideas placed into a learning center unit format. Sample Classroom Applications—Holes Learning Centers Students were asked to include application ideas for using Holes in the social studies classroom. The following includes the synthesis of project ideas that were shared and developed into a learning center unit. Rationale Integrating youth culture and focusing on “powerful” teaching and learning including active, challenging, meaningful, values-based, and integrative approaches can enhance social studies education. Cooperative learning and centers are examples of strategies that enhance a “powerful” social studies. The purpose of the following centers is to model the integration of youth culture into social studies teaching and learning. Each of the 10 NCSS thematic strands is addressed in this project.

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Procedures In groups of 3–4 members, rotate through the centers and complete each task. Develop an individual portfolio of materials. When finished you should have evidence of your work for each of the centers. You should also have a group portfolio. The group portfolio should include group sharing notes, group consensus activities, and other “grouped” ideas from each center. Assessment and Expectations You will have individual content tasks to complete that will contribute to a group task for each center. Each student will keep a portfolio of individual work. All individual and group tasks should focus on developing and sharing “powerful” social studies. Once in groups, each person should choose one of the following roles (time keeper also takes role of on-task manager if only 3 group members): (1) time keeper—keeps group to negotiated time limit; (2) reader and materials manager—reads tasks and ensures understanding organizes materials for each center, keeps group materials, (3) recorder—takes group notes; and (4) on-task manager—ensures that members remain on task at all times. Holes—The Book Have students read the book Holes. Initial strategies should include teacher readaloud and whole-class focus activities. Reading centers could be set up for smallgroup reading, book discussion groups, literacy sets, and comprehension and extension activities. Have students summarize, critique, and apply ideas and issues from the book in the reading center. Music • Choose a song, lyrics, or series of songs from the soundtrack to Holes. • Listen to the song/s or read the lyrics. • Have students compare songs using Venn diagrams or other method. • Have students interpret and analyze the songs. What are the songs about? What important ideas, issues, and themes are presented? • Choose a relevant current issue or theme and brainstorm current songs to integrate. Allow students to bring in related songs. Film/Video • Watch the film Holes or snippets from the film. • Have students take notes or choose most interesting or important parts. • Have students summarize, critique, and apply the information. Students may write a letter to the editor, develop a newspaper, complete a journal entry, write a review of the film as if they were historians. • Have students create own scripts and/or videos on related topics or themes. • Have students compare the film with other films of interest.

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Literacy Connections • Have related primary sources/fiction available (Survival Guide to Camp Green Lake). • Develop a related survival guide to the issue/place of their choosing. • Students should present their guides creatively. Debate • Choose a controversial issue presented in the book/film (and other sources). • Develop a pro and con position paper. • Engage in a debate and/or discussion regarding both sides of the issue. • Brainstorm positive and negative examples for both sides. • Complete a reflection paper or project. Technology • Explore the Holes websites: – www.holes.com – http://disney.go.com/disneypictures/holes/ • Allow students to choose relevant areas to explore. • Students should keep a web journal of their exploration. Holes Project • Groups should choose a theme/issue addressed in Holes. • Students should develop a “history fair” like project on the theme as addressed in Holes and applied to reality. • Possible projects include a skit/oral project, visual project, video project, or technology project (or a combination or other project as negotiated). • Projects will be completed in the center and presented to whole class. Filling the Holes Social studies can truly come alive for our students if we allowed for the integration of youth culture. If we are truly interested in facilitating student-centered approaches in social studies, then we must begin to integrate long-ignored (and often demeaned) tools such as youth culture. What is important is creating a classroom atmosphere where students and teachers are empowered to question and critically analyze social studies issues and themes. Youth culture embodies a language of both critique and possibility; a language that allows students to locate themselves in history, find their own voices, and establish the convictions and compassion necessary for democratic civic courage (Freire & Giroux, 1989). Youth culture can be a very powerful tool as we hope to develop social studies for our students as it allows for critical inquiry and investigation. Allowing for the investigation of issues through the tool of youth culture can only enhance an engaging social studies education. Holes is only one example of many that deserves further investigation regarding the potential for engaging kids more effectively.

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What better way to engage in critical inquiry and problem solving for social studies than to use youth culture in our classrooms? REFERENCES Buckingham, D. (Ed.). (1998). Teaching kid culture. London, England: University College Press. Daspit, T., & Weaver, J. (2000). Youth culture and critical pedagogy. New York, NY: Falmer. Freire, P., & Giroux, H. (1989). Pedagogy, kid culture, and public life. In H. Giroux & R. Simon (Eds.), Kid culture: Schooling and everyday life. Granby, MA: Bergin & Garvey. Giroux, H. (1994). Disturbing pleasures. New York, NY: Routledge. National Council for the Social Studies (NCSS). (1994). Expectations for excellence. Washington, DC: NCSS. Sachar, L. (1998). Holes. New York, NY: Dell Yearling. Steinberg, S., & Kincheloe, J. (1997). Kinderculture: The corporate construction of childhood. Boulder, CO: Westview Press. White, C. (2003). True confessions: Popular culture, social efficacy and the struggle in schools. Kresskill, NJ: Hampton Press.

CHAPTER 20

DAY AND NIGHT AT THE MUSEUM (AND BEYOND) Popular Culture and Natural History/Science

Don’t it always seem to go That you don’t know what you’ve got till it’s gone; They paved paradise, And put up a parking lot. —Big Yellow Taxi Joni Mitchell (1970, Ladies of the Canyon) What comes to mind when you think of Night at the Museum, The Lorax, or the song Big Yellow Taxi? Hopefully, besides entertainment, we think of our connection to the natural world. Unfortunately, what with our fast-paced world, urbanization, and development, this “natural” relationship is often overlooked. This is especially the case in a social studies context. Nevertheless, there are great links between social studies and natural history. The key is how can we enhance this connection, and how might popular culture serve as a tool to augment this? Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 165–169. Copyright © 2016 by Information Age Publishing 165 All rights of reproduction in any form reserved.

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I am staring out of my office window in Houston. I see probably 15 different varieties of plants and trees. Every once in a while birds fly by or I see a squirrel jumping from one limb to the next. I also see several buildings and hear the buzz of various machines doing their work. In fact, in Houston at least, often starting in May through September, we find ourselves quickly moving from air conditioned place to air conditioned place (in order to survive!). We do this often at the expense of our connections to the natural world—I quickly passed two feral cats on campus as I made my way to the office this morning. I am very comfortable sitting in my nicely air conditioned office while writing this. The point of my rambling is that this is also how we increasingly interact with nature—through a window, on a screen, or if we are lucky, at the museum. We need to do better by our students and for ourselves. Popular culture and museums are wonderful starting places to reinvigorate human environmental connections for students. They both can be very powerful tools for teaching and learning and can help us rebuild the bridge between humanity and the natural world. That is the focus of this chapter: to suggest only a starting place and to push all of us to do more; to take our students outside into the schoolyard, into the community, to reconnect with nature. The Museum Connection When my son was around 5 years old, we took him to the Smithsonian National Museum of Natural History. He still talks about holding hissing cockroaches and allowing one to climb up his arm. As a result of this experience and other related experiences, we have been members of the Houston Museum of Natural Science for years. We have had numerous great experiences at this museum: from seeing Body Worlds to CSI to Ben Franklin. Many of these excursions resulted in extra credit for my GT science/math-oriented son as well as opportunities for cool conversations and memories. Many of us fondly remember our excursions to natural history museums growing up. Who doesn’t love to see the dinosaurs or even the dioramas filled with stuffed animals from various regions of the world? There is even a certain romantic feeling we cling to regarding such experiences. There are however, some pretty negative connotations attributed to natural history/natural science museums. Kids running wild during field trips and others yawning, pulled by their parents from one exhibit to another, all within a musty, dark confine, are stereotypes that often come to mind. Fortunately, natural history/science museums have come along way during the last 20 years or so. Many have really made grand attempts, often very successfully, to better connect with the community and to bring in more visitors. Natural history museums have incorporated IMAX theaters, hands-on exhibits, evening events with music and movies, and themed extension areas such as butterfly centers, space exploration simulations, and children’s activity areas. Many have part-

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nered with corporations such as McDonalds to further entice families. Many also have permanent localized natural history exhibits. While it’s easy to critique corporate sponsorships, most museums would not be able to afford high-cost, in-depth, and especially high-interest exhibits without such involvement. There definitely has been an improvement in the quality and updated nature of exhibits in recent years, and perhaps some of this is due to sponsorship. Nevertheless, we do need to include discussions of point of view and agenda when teaching using such exhibits. Another improvement is the integrated or transdiscplinary nature of more recent exhibits. Exhibits on Genghis Khan, Ben Franklin, and the Terra Cotta Soldiers really lend themselves to social studies applications especially. Other high-interest exhibits that have made the rounds include Dead Sea Scrolls, Body Worlds, daVinci, Wonders of the World, and Rome. These and other exhibits at the Museum of Natural Science in Houston, for example, are quite popular and have helped make that particular museum one of the most visited outside of DC or New York. While perhaps somewhat controversial to natural science or natural history traditionalists, these have definitely had an impact on the sheer growth in popularity of these museums. On the other hand, Night at the Museum, released in 2006, also has had a tremendous effect on interest and success of these museums. Many have developed Night at the Museum events that include overnight stays (or even longer), complete with showings of the movie and fun activities tied directly to the movie and the learning of natural science/history. On a recent trip to the museum in Houston to see the Genghis Khan exhibit, I overheard two kids (at different times) refer to the Genghis Khan scenes from the film in reference to aspects of the actual exhibit. The film, Night at the Museum: Battle for the Smithsonian, is sure to enhance this phenomenon. A popular culture connection has definitely been established by natural history/ science museums. This is a good thing. It has enabled museums to better connect with youth who learn differently than we do. Variety, hands-on experiences, visual connections, interdisciplinary, and linked to kids’ interests and the wider world, are all integrated into recent museum experiences. This is what popular culture as a text for teaching and learning is all about, thus the huge success of Night at the Museum, especially for these museums. The Environmental Education Connection The environmental education movement has definitely had a resurgence what with increased mainstream awareness of climate change and other environmental issues. The green movement is definitely catching on in society and schools. Often what we find in schools is general environmental education practice if we find anything at all. Don’t get me wrong, recycling projects and lessons on the rain forests are good starts. I do think we could do a better job in connecting with the everyday lives of our students by integrating popular culture and the natural world.

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Again, the role of popular culture here is to provide a bridge that helps connect students to the learning. Films such as Over the Hedge and Hoot are just two examples of films that can provide a link that students can relate to (K–8). Each film deals with unbridled development of the natural world. The films Earth, Zootopia, Inside out, Up, Toy Story, LegoMovie, Incredibles, Wall-E, and other recent documentaries also can be quite entertaining and provide connections for students. Integrating the book and film The Lorax can also bring these issues home. The movies themselves and accompanying music soundtracks provide additional rich resources to promote social studies teaching and learning. In addition to the book (Hoot) or comic strip (Over the Hedge), film and soundtrack, other resources that support the suggested approaches mentioned above include http://www.overthehedgemovie.com/main.html, and http://www.imdb.com/title/ tt0453494/ This is a start, but perhaps the most intriguing possibility is through the natural history of the school or community. Many schools have established schoolyard habitats or other green spaces for teaching and learning. Many local communities and neighborhoods have done much the same thing with community gardens and greenbelts. These habitats often include a variety of components such as a certification process, education activities, volunteer opportunities, and web links. The National Wildlife Federation (http://www.nwf.org/schoolyard/) and Eco Schools (http://www.ecoschools.com/Wildlife/Wildlife_wSidebar.html) offer excellent resources for establishing and maintaining habitats. Some years ago, a colleague and I received two Eisenhower state grants to better connect schools with the natural world. Over a 3-year period, the Awareness to Citizenship Project( Basile & White, 2000) focused on professional development experiences that helped teachers (and hopefully their students) move beyond lowlevel awareness of issues related to the natural world. Our idea was to integrate science and social studies with teachers engaging in a variety of projects to critically investigate the natural world of their schools and community and then developing specific applications for their students. We integrated a variety of popular culture into the project, but primarily focused on literature and technology. Several schoolyard habitats were developed. In addition, ongoing community/school service projects were encouraged. CONCLUSIONS Natural history/science can be breath of fresh air for integrating social studies and science. Museums and popular culture are tools to get us started. Again, the goal is to engage with the natural world in meaningful ways. Schools and society are doing better with green initiatives and the like. Social studies, more often than not, has shied away from connecting to the natural world; but has at least integrated environmental education and science technology society themes of late. Citizenship requires that we do more than increase awareness—that we become involved in our world, locally and globally.

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Museums • • • • • • • • • •

Texas Natural Science Center: http://www.utexas.edu/tmm/ Houston Museum of Natural Science: http://www.hmns.org/ Witte Museum: http://www.wittemuseum.org/ Dallas Museum of Nature and Science: http://www.natureandscience.org/ Ft. Worth Museum of Natural Science: http://www.fwmuseum.org/home/ index.html Smithsonian National Museum of Natural History: http://www.mnh.si.edu/ American Museum of Natural History: http://www.amnh.org/ The Field Museum: http://www.fieldmuseum.org/ Yahoo Directory of Natural History Museums: http://dir.yahoo.com/society_and_culture/environment_and_nature/Natural_History_Museums/ Natural History Museums and Collections: http://www.lib.washington. edu/sla/natmus.html

General Links • Natural History Network: http://www.naturalhistorynetwork.org/ • Center for Environmental Education, Natural History, and Conservation: http://www.environmentaleducationohio.org/ • Smithsonian Education: http://www.mnh.si.edu/education/ • National Wildlife Federation : http://www.nwf.org/schoolyard/ • Eco Schools : http://www.ecoschools.com/Wildlife/Wildlife_wSidebar.html Popular Culture • Night at the Museum trailer: http://www.imdb.com/title/tt0477347/ • Night at the Museum: Battle for the Smithsonian trailer: http://www.imdb. com/title/tt1078912/ • Hoot: http://www.imdb.com/title/tt0453494/ • Over the Hedge: http://www.overthehedgemovie.com/main.html REFERENCES Basile, C., & White, C. (2000). Awareness to citizenship: Environmental literacy for the elementary child. New York, NY: University Press of America. Fry, M., & Lewis, T. (1996) Over the hedge. New York, NY: Andrews McMeel. Hiaasen, C. (2004). Hoot. New York, NY: Random House. Seuss, Dr. (1971). The lorax. New York, NY: Random House.

CHAPTER 21

ARE THEY “BUGGING” YOU? Animated Movies and Popular Culture in Social Studies

What is the role of popular culture in schools and society? Does popular culture have a role in the education process of our students? Popular culture plays a very prominent role in our lives and is very important to our society, our citizens, and especially our children. Music, movies, technology, and other media can provide powerful teaching and learning tools for connecting with students. Why not use these “alternative” texts in our classrooms, rather than ignoring or censoring them? Just look at the quality and success of animated movies such as Up, Shrek, and Ice Age. Look at the quality of recent children’s’ literature such as Harry Potter or the Lemony Snicket books. We owe it to our students to provide opportunities for integration and critical analysis of popular culture. Film, television, music, books, and other forms of popular culture can provide rich opportunities for teaching and learning (Steinberg & Kincheloe, 1997). As stated previously, integrating the popular culture of our students as a tool in teaching and learning provides needed context and connections for our classrooms. Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 171–176. Copyright © 2016 by Information Age Publishing 171 All rights of reproduction in any form reserved.

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Popular culture reflected in movies, books, television, music, media, toys, technology, and fads can be used as powerful educational resources. The idea of empowering students with teaching and learning in social studies includes meaningful, challenging, integrative, value-based and controversial, and active approaches should be the goal (NCSS, 1994). Popular culture offers a natural integration; just imagine the power of movies, books, television, music, media, games, and technology to promote social studies (White, 2003). A particular suggestion is allowing students to bring in their culture as they investigate issues, make connections, construct knowledge, and engage in sense making. Antz, It’s a Bug’s Life, Bee Movie, and Ant Bully are movies that include soundtracks, websites, and other popular culture applications that can help connect social issues in elementary social studies. Allowing students to bring in their cultural choices as they investigate issues, make connections, construct knowledge, and engage in sensemaking will only provide rich opportunities for learning (Daspit & Weaver, 2000). This chapter explores possibilities for integrating such popular culture into elementary social studies teaching and learning. Emerging themes in the films include • • • • • •

Friendship Family Rules/Laws Cooperation Diversity Institutions

• • • • • •

Interdependence Rights Environment Character Power/Authority Greed

• • • • • •

Adventure Perseverance Trust/Honesty Consequences Change Conflict

In addition to these general themes, each of the National Council for the Social Studies ten thematic strands may be addressed with the integration of Antz, A Bug’s Life, Bee Movie, or The Ant Bully and the accompanying resources. By integrating the various tools and themes for these films, we can address issues regarding learning styles and make “real world” connections for students. Antz Antz is the story of Z and Bala as they struggle in a society that values strength and conformity, eventually surviving to facilitate a more democratic way of life. Students can relate to the themes of character, change, friendship, active citizenship, and choice issues throughout Antz. The music soundtrack, script, video game, and other web links provide additional resources to promote social studies teaching and learning. The script for the movie can be found at http://www.dailyscript.com/scripts/antz.html. In addition to film and soundtrack, another useful resource is the website.

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A Bug’s Life A Bug’s Life is the story of Flik and his struggle to make sense of his society and its conflict with the grasshoppers. Students can again relate to themes such as collaboration, adventure, conflict, and diversity. As in Antz, the music soundtrack, video game, script and other web links provide additional resources to promote social studies teaching and learning. The official film site where one can find the trailer is. A site that includes the full story, quotes from the movie and various activities is . The Ant Bully The Ant Bully is the story of Lucas, who is threatened by the neighborhood bully and takes his anger out on an anthill. The ants get their revenge by causing Lucas to shrink. The resulting adventure enables Lucas to see the world through others’ eyes. As in the other films discussed, The Ant Bully has a movie soundtrack, video game, and other possible texts for integration. The official website includes the trailer, games, activities, and other high-interest links and can be found at http://www2.warnerbros.com/antbully/. Bee Movie Bee Movie is the story of Barry, a courageous and inquisitive bee who thinks big regarding his future. He wanders out of the hive and discovers an incredible world dealing with humanity. Bee Movie has a variety of extensions on its website including video clips, games, and links. The DVD includes a variety of extras that can also be intergrated into the classroom. The official website is http://www. beemovie.com/. Sample Classroom Applications—“Bug” Learning Centers Rationale Integrating popular culture and focusing on “powerful” teaching and learning (including active, challenging, meaningful, values-based, and integrative approaches) to enhance social studies. Use cooperative learning and centers as strategies to enhance student-centered social studies. The purpose of the centers is to model the integration of youth culture in social studies teaching and learning. Each of the 10 NCSS thematic strands is addressed in this project. Procedures Group students into 3–4 member teams and have them rotate through the centers and complete each task. Students should develop an individual portfolio of materials. When finished, they should have evidence of work for each of the centers. They should also have a group portfolio. The group portfolio should include

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group sharing notes, group consensus activities, and other “grouped” ideas from each center. Assessment and Expectations Design individual content tasks to complete that will contribute to a group task for each center. Each student should keep a portfolio of individual work. Each person in the group should choose one of the following roles (time keeper also takes role of on-task manager if a group has only 3 members): • time keeper—keeps group to negotiated time limit • reader and materials manager—reads tasks and ensures understanding organizes materials for each center, keeps group materials • recorder—takes group notes • on-task manager—ensures that members remain on task at all times Reading Have students read the book, scripts or stories from the films (or read aloud). Initial strategies should include teacher read-aloud and whole-class focus activities. Reading centers may be set up for small-group reading, book-discussion groups, literacy sets, and comprehension and extension activities. Have students summarize, critique, and apply ideas and issues from the book in the reading center. A reading reflection journal could be used. Music • Students should individually choose a song, lyrics, or series of songs from the soundtrack. • Listen to the song/s or read the lyrics. • Have students compare songs using Venn diagrams or other method. • Have students interpret and analyze the songs. What are the songs about? What important ideas, issues, and themes are presented? • Choose a relevant current issue or theme. Brainstorm current songs to compare. Allow students to bring in related songs. Film / Video • Watch the films or clips from the films. • Have students take notes or choose the most interesting or important parts. • Have students summarize, critique, and apply the information. Students may write a letter to the editor, develop a newspaper, complete a journal entry, or write a review of the film as if they were historians. • Have students create their own scripts and/or videos on related topics or themes. • Have students compare the film with other films of interest.

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Literacy Connections • Have related primary sources and fiction available (Hey Little Any, The Very Hungry Caterpillar, The Biggest House in the World) • Have students read a related book. • Have students develop a comic strip, letter to the editor, reading reflection journal. • Students should present their projects creatively. Debate • In the groups, students should choose a controversial issue presented in the books/films (and other sources). Divide the group into opposing sides • Students should develop a pro or con position paper according to the side assigned. • Students should engage in a debate and/or discussion regarding both sides of the issue. • Students should brainstorm positive and negative examples for both sides. • Have students complete a reflection paper or project. Technology • Have students explore the appropriate website and/or DVD extras: • http://www2.warnerbros.com/antbully/ • Allow students to choose relevant areas to explore. • Students should keep a web journal of their exploration. “Bug” Project • Groups should choose a theme/issue addressed in any or all of the films. • Students should develop a project similar to a “history fair” format on the theme as addressed in any or all of the films and applied to a current relevant topic or issue. • Possible projects include a skit/oral project, visual project, video project, or technology project (or a combination or other project as negotiated). • Projects will be completed in the center and presented to whole class. Extensions The online games and activities offer ideas for extending the unit. The video games for each of the films are rated “E” and thus could be integrated into unit extensions. Don’t “Bug” Out Learning can truly come alive for our students if we allow for the integration of popular culture such as animated movies. If we are truly interested in facilitating student-centered approaches in social studies, then we must begin to integrate long-ignored (and often demeaned) tools such as students’ popular culture. What

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is important is creating a classroom atmosphere where students and teachers are empowered to question and critically analyze social studies issues and themes. Popular culture can be a text with great possibility; a text that allows students to locate themselves in history, find their own voices, and promote democratic civic courage (Freire & Giroux, 1989). Popular culture can be a very powerful tool to develop critical inquiry and investigation skills. Antz, A Bug’s Life, and The Ant Bully are only a few examples of many that deserve further investigation regarding the potential to engage students more effectively. What better way to further critical inquiry and problem solving for teaching and learning than to use such texts in our classrooms? REFERENCES Daspit, T., & Weaver, J. (2000). Youth culture and critical pedagogy. New York, NY: Falmer. Freire, P., & Giroux, H. (1989). Pedagogy, kid culture, and public life. In H. Giroux & R. Simon (Eds.), Kid culture: Schooling and everyday life. Granby, MA: Bergin & Garvey. National Council for the Social Studies (NCSS). (1994). Expectations for excellence. Washington, DC: NCSS. Steinberg, S., & Kincheloe, J. (1997). Kinderculture: The corporate construction of childhood. Boulder, CO: Westview Press. White, C. (2003). True confessions: Popular culture, social efficacy and the struggle in schools. Kresskill, NJ: Hampton Press.

CHAPTER 22

LINKING PRESENT AND PAST THROUGH CULTURALLY RESPONSIVE TEACHING

What could more profoundly vindicate the idea of America than plain and humble people—the unsung, the downtrodden, the dreamers not of high station, not born to wealth or privilege, not of one religious tradition but many—coming together to shape their country’s course? —B. Obama, 50th Anniversary of the Selma March, 2015 INTRODUCTION What is culture? Why is culture important in teaching and learning? How often do we think of student culture when teaching? How might we link present and past through culturally responsive pedagogy?

Demographics in the U.S. are changing dramatically with the reality that we are more multicultural and diverse than ever before. A social studies and history education that is more culturally responsive is vital in that deeper investigation of Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 177–184. Copyright © 2016 by Information Age Publishing 177 All rights of reproduction in any form reserved.

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multiple perspectives allow for a broader understanding of the human endeavor. History by its very nature is about perspective and interpretation—of the time and about the time—and should be about linking past and present. An ongoing issue in social studies teaching and learning is connecting with our students so as to ensure meaning and relevance in their lives. Unfortunately, there is some truth to the old statement that many students find social studies and history education boring (Mintz, 2011). Much of what is happening in the name of social studies remains as it has been for years—textbook based, teacher centered, stressing coverage rather than depth, and focused on low level “facts.” A rethinking of social studies and history education focusing on culturally responsive pedagogy and also linking present to past are important ways to provide context and connections for all students. Gay (2000) defines culturally responsive teaching as using cultural knowledge, prior experiences, and student interest and learning styles to make teaching and learning more learning and effective. According to Ladson-Billings (1994) culturally responsive teaching is a pedagogy that recognizes the importance of including students’ cultural references in all aspects of learning. Obama’s recent Selma speech (2015) is a good example of linking present to past through culturally responsive texts. The speech is full of references linking present and past and also connecting to youth of today and rights and responsibilities as citizens for the future. We are the people Emerson wrote of, ‘who for truth and honor’s sake stand fast and suffer long;’ who are ‘never tired, so long as we can see far enough. That’s what America is. Not stock photos or airbrushed history or feeble attempts to define some of us as more American as others. We respect the past, but we don’t pine for it. We don’t fear the future; we grab for it. America is not some fragile thing; we are large, in the words of Whitman, containing multitudes. We are boisterous and diverse and full of energy, perpetually young in spirit… And that’s what the young people here today and listening all across the country must take away from this day. You are America. Unconstrained by habits and convention. Unencumbered by what is, and ready to seize what ought to be. For everywhere in this country, there are first steps to be taken, and new ground to cover, and bridges to be crossed. And it is you, the young and fearless at heart, the most diverse and educated generation in our history, who the nation is waiting to follow.

Zinn (1980) and Loewen (1995) both suggest that social studies and history education should by their very nature focus on culturally responsive approaches. They go on to state that denying voice, perspective and culture in both content and pedagogy are antithetical to democratic ideals. According to Gay (2000), culturally responsive teaching is validating, comprehensive, multidimensional, empowering, transformative, and emancipatory for the students of so many cultures in our schools.

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CULTURE AND LINKING PRESENT TO PAST Much of our social studies and history education focuses on a heroes and events covered in a chronological framework. We often go from one war to the next and one hero to the next in approaching the first or second half of American history in the grade level it is respectively taught. It is even exacerbated with all of world history being taught in a year. Educators must therefore pick and choose “important” topics or increasingly they are chosen for teachers in the guise of standards. The issue remains that these often only lead to breadth rather than depth and increasingly teaching to the test (given the emphasis now placed on test scores). If our goals remain the promotion of democracy, active citizenship and to develop rights and responsibilities as human beings contributing to society, then other methods warrant increased implementation. A culturally responsive curriculum and instruction that links present to past while always thinking about the future perhaps best addresses the achievement of these goals. Contextualizing pedagogy by connecting it locally and to our students lives and culture is a necessary first step. Media, popular culture and others texts / tools should be integrated to enhance such learning. What with the internet and a variety of technology devices being integrated into classrooms, there really is no excuse for not keeping up with current issues in a local to global context. A myriad of websites also exist for investigating themes in social studies and history. It’s the skills that social studies champions that should be integrated allowing students to critically analyze information and then create and apply using applications such as web 2.0 tools. In addition, students learn much through media and popular culture and we should also allow for the integration of this student culture in teaching and learning (Giroux, 2006). Examples that have great possibilities include children’s and young adult literature (both of the present and past and about the present and past). Music, games, art, TV and film, sites such as YouTube and other websites directed to K—12 students also offer opportunities. Educators need to educate themselves, rather than dismiss or censor student culture. THEMES A thematic approach to social studies and history education has been advocated for some time. The Bradley Commission (1988) and the National Council for the Social Studies (1996) provide excellent suggestions for a thematic approach— which would lend itself more favorably to a linking of present to past through culturally responsive pedagogy: 1. 2.

Bradley Commission on History in Schools, Vital Themes and Narratives Civilization, cultural diffusion, and innovation Human interaction with the environment

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3. 4. 5. 6.

Values, beliefs, political ideas, and institutions Conflict and cooperation Comparative history of major developments Patterns of social and political interaction

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

NCSS—Ten Themes of Social Studies Culture Time, Continuity, and Change People, Places, and Environments Individual Development and Identity Individuals, Groups, and Institutions Power, Authority, and Governance Production, Distribution, and Consumption Science, Technology, and Society Global Connections Civic Ideals and Practices

The above are excellent themes in which to begin, but students should be allowed to make them their own. Perhaps allowing students to focus on their daily lives may be a start—issues of social justice and equity for example. Bullying, drugs, gender issues, peer issues, jobs, family, youth / adult relationships, school, race/ ethnicity, class… all are possible themes of interest to students. Integrating such themes would provide a significant transformation for social studies and history education. A balance needs to be found between the more traditional approaches and the more student centered approaches if we are truly interested in context and connections for our students. In the most culturally diverse society in history, we owe it to our kids to think and do differently—and a culturally responsive pedagogy is a place to begin. RESPONSIBILITIES OF A CULTURALLY RESPONSIVE TEACHER It is one thing to develop a culturally responsive curriculum and instruction, but educators need also to develop those skills within themselves. Teachers must constantly be aware and act on equity and social justice issues dealing with race, ethnicity, gender, class, ability, and culture. Championing a diverse community is vital for both student and teacher efficacy. Banks and Banks, (2004) and Nieto (2006) suggest the following: 1. 2. 3. 4. 5.

Acknowledge students differences as well as their commonalities. Validate student cultural identity in all curriculum and instruction. Provide opportunities to engage in to global connections. Promote equity, respect, rights, and responsibilities among students. Develop an interrelationship between students, families, and the community.

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Encourage student to become active participants in all aspects of their lives—socially and politically. Focus on life skills such as critical thinking, problem solving, conflict resolution, collaboration, and negotiation. CONCLUSION

Much work awaits culturally responsive educators as we attempt to meet the need of our students and society at large for the 21st century. Regardless, hope abounds as our society is much more rich given its diversity and cultural uniqueness. While many may struggle with the concept of American, it should not be defined as the denial of cultural identity or of individual identity. Our students deserve teaching and learning that speak to them as human beings—liking present and past. Social studies and history education should be the model for culturally responsive pedagogy for this century. For only by celebrating culture as we to grow as a society. ACTIVITIES AND LESSONS FOR THE CLASSROOM 1.

2.

3.

4.

5.

6.

Curricular connections—Students will link each theme studying in social studies /history units to current theme or issue. How are they related? How does one inform the other? What are the future implications? What are the what if scenarios? What could have been done to have different outcomes? What’s next? Local investigations—students document and investigate the local surroundings (school, neighborhood, larger community) based on themes negotiated. Smart phones, cameras, technology devices can be used. Students are asked to make local to global and present to past connections regarding themes. Oral histories—students interview local adults—school, neighborhood, and community. Students determine interview protocol. Students are asked to make local to global and present to past connections regarding themes. (see story corps and other oral history projects) Social issues—Students develop and conduct surveys regarding local issues, investigate and interview regarding themes and issues negotiated. Students determine plan of action for addressing issues. Present to past—Students create projects (history fair, web 2.0, art) focusing on linking present and past themes in history—tied to themes of unit studying. Multicultural perspectives—Students investigate multiple perspectives on issues and evens that link the present and past—cultural, gender, age, race, ethnicity, political, etc. perspectives.

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Community engagement—Students individually and in groups develop plans for engaging with the local community (long term and sustainable involvement). Students investigate local issues and organizations. Global classrooms—Students role-play ambassadors from various countries to debate present / past issues. (see Model UN examples). Skits, role playing, simulations—Students investigate an event or scenario from an assigned perspective—present, past or future links. Skills such as problem solving, conflict resolution, debate, planning, and written /oral communication are facilitated. Citizenship / activism—Students choose an issue linking present and past to become involved in—students are to engage in sustained involvement—community service. The Future—Students use theme that link present and past to determine themes to investigate for future implications—environmental, political, social, and economic issues / themes. CULTURALLY RESPONSIVE BIBLIOGRAPHY

Bradley Commission on History in Schools. (1988). Building a history curriculum: Guidelines for teaching history in schools. National Council for History Education. Duncan–Andrade, J. (2008). The art of critical pedagogy. New York, NY: Peter Lang. Freire, P. (1970). Pedagogy of the oppressed. New York, NY: Continuum Press. Freire, P. (2013). Education for critical consciousness. New York, NY: Bloomsburg. Gay, G. (2000). Culturally responsive teaching. New York, NY: Teachers College Press. Giroux, H. (2012). Disposable youth. New York, NY: Routledge. Kozleski, E. (2011). Culturally responsive teaching matters! Equity Alliance. Retrieved from http://www.equityallianceatasu.org/sites/default/files/Website_files/CulturallyResponsiveTeaching-Matters.pdf Kozol. J. (2006). The shame of the nation. Pittsburg, PA: Three Rivers Press. Ladson-Billings, G. (1994). The dreamkeepers. San Francisco, CA: Jossey-Bass Publishing Co. Lee, C. (2007). Culture, literacy, and learning. New York, NY: Teachers College Press. Loewen, J. (1995). Lies my teacher told me. New York, NY: Touchstone. National Standards for History, Basic Edition. (1996). National Center for History in the Schools. Obama, B. (2015). Selma speech. Retrieved from http://time.com/3736357/barack-obamaselma-speech-transcript/ . Richards, H., Brown, A., & Forde, T. (2006). Addressing diversity on schools: Culturally responsive pedagogy. Retrieved from http://www.nccrest.org/Briefs/Diversity_ Brief.pdf Takaki, R. (1993). A different mirror. New York, NY: Little, Brown, and Company. West, C. (2001). Race matters. Boston, MA: Beacon Press. Zinn, H. (1980). A people’s history of the United States. New York, NY: Harper Collins.

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WEBSITES NCCRESt —Culturally Responsive Pedagogy and Practice http://www.nccrest.org/professional/culturally_responsive_pedagogy-and. html Equity Alliance http://www.equityallianceatasu.org ASCD—A Framework for Culturally Responsive Teaching http://www.ascd.org/publications/educational-leadership/sept95/vol53/ num01/A-Framework-for-Culturally-Responsive-Teaching.aspx Edutopia—Culturally Responsive Teaching—Videos http://www.edutopia.org/blogs/tag/culturally-responsive-teaching Introduction to Culturally Relevant Pedagogy https://www.youtube.com/watch?v=nGTVjJuRaZ8&list=PLoEXRnwo4449Y oUF-6UpNTibcrNRRg-1A&index=4 Cultural Competence https://www.youtube.com/watch?v=N9IeB4SvQIA&list=PLoEXRnwo4449Y oUF-6UpNTibcrNRRg-1A Culturally Responsive Texts http://libguides.luc.edu/c.php?g=49784&p=320661 http://www.tolerance.org/publication/project-appendix-d Dr. Jeffrey Duncan-Andrade https://www.youtube.com/watch?v=i7ftSDiILbI Urban Schools http://www.urbanschools.org/publications.htm Teaching Tolerance http://www.tolerance.org

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Zinn Education Project https://zinnedproject.org

CHAPTER 23

PRAIRIE WIND The Prairie in American Popular Culture

I’m a roving cowboy far away from home Far from the prairie where I used to roam Where the doggies wander and the wind blows free Thought my heart is yonder on the lone prairie Oh carry me back to the lone prairie . . . —Carry Me Back to the Lone Prairie Oh give me a home, where the buffalo roam And the deer and the antelope play Where seldom is heard a discouraging word And the skies are not cloudy all day —Home on the Range The American prairie is almost mythic beyond conception. The idea of “prairie” has long stood as a metaphor for the wide expanses and the seemingly infinite possibilities of the United States. We all have various images that come to mind regarding prairies. Countless songs invoke prairie imagery, including Home on Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 185–189. Copyright © 2016 by Information Age Publishing 185 All rights of reproduction in any form reserved.

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the Range, Carry Me Back to the Lone Prairie, Bury Me Not on the Lone Prairie, and Prairie Wind. Likewise, many classic movies, television shows, and books have prairie themes. Even one of the most classic educational software titles, Oregon Trail, integrates the journey and exploration of the American prairie as a central theme. Fortunately, the American prairie is cross-generational in our popular culture. Great books exist that bring prairie life and history alive, including the Little House on the Prairie books and O Pioneer! We are also aware of film and television adaptations of many of these classic books. Hundreds of books also offer natural histories and traditional histories of the prairie. Our history textbooks usually offer prairie tales tied to manifest destiny and the growth of the nation. Teaching about prairies in American history can be accomplished by allowing the use of music, movies, television, and literature. A unit that investigates the prairies might have centers or specific class periods dedicated to representation of prairies in popular culture (of the time and of the present). Songs and journals detailing prairie experiences perhaps present immediate historical connections, much better than the traditional textbook. Snippets from movies, television and/or fiction also offer additional powerful links. Prairie dogs, the radio show and movie A Prairie Home Companion, and the group Pure Prairie League also provide wider prairie associations. YouTube offers parts of Little House on the Prairie and A Prairie Home Companion, another way of integrating popular culture. Past and Present We do seem caught is a time warp of sorts regarding prairies. They seem to exist in history and have little connection to today. Nothing could be further from the truth. Much of this is due to little time spent in social studies classes connecting present to past and vice versa. We have long taken the prairie for granted as we have made them bigger than life and existing almost solely in classic Westerns and other popular culture. Despite this, environmental groups and state agencies offer excellent opportunities to connect our students with current prairie issues. I remember many trips while growing up driving from San Antonio, Ft. Worth, or Houston first to Brownwood, then on to Amarillo to visit both sets of grandparents. My own parents were great in often integrating history into our journeys. Side trips to Austin and the state capital, Lubbock and Buddy Holly’s digs, and Palo Duro Canyon to see the performance of Texas! were often included in these excursions. Not once did I hear mention of the Texas prairies. Texas wouldn’t be Texas without its geography however, and that was mostly overlooked on these trips. Nevertheless, I think I remember memorizing the Texas prairies in seventhgrade Texas history and I am pretty sure I had to plot and color them on a map. Of course, little of that stuck.

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Teaching and Learning The broad conception of popular culture integration in teaching and learning is to employ recent “texts” to better help students connect with social studies. Current issues and technology are natural popular culture texts that can be better integrated to improve relevance of social studies. Using case studies or allowing students to individually (or in small groups) investigate themes or topics in social studies are strategies that really should be part of every social studies classroom. The Internet and other technologies offer a variety of tools to gather, manipulate, and present information. A quick Google search of “prairie” immediately provides a number of valuable links. Narrowing the search to “Texas prairies,” specific Texas prairies, or prairie issues provides additional resources. Access to the technology resources and technology creation tools are perhaps the best way of integrating popular culture (or our students’ culture). Another method of better contextualizing social studies is through localizing. Texas really is a microcosm for the United States and the world—historically, geographically, and particularly environmentally. Allowing students to investigate local issues is a real-world connection that ultimately leads to better efficacy and an active citizenry—think globally, act globally! Texas has numerous prairies for example, that offer opportunities for doing social studies—field experiences provide incredible links. Texas Parks and Wildlife offers great resources for localizing Texas prairie investigations (http://www.tpwd.state.tx.us/). The Native Prairies Association of Texas is even more focused with numerous resources (http://www.texasprairie. org/, www.prairies.org) and also offers great links. There are also numerous sites on prairies outside of Texas. Most of these sites have an education link that lists activities, lessons, and additional resources. A case study for the Houston area is the Katy Prairie ( http://www.katyprairie. org/ ). The Katy Prairie Conservancy has a powerful website with great resources and links. There is an thorough unit on prairies and Katy Prairie specifically. Perhaps the most powerful aspect is the unit / guide for experiencing Katy Prairie first hand. A Prairie Connection Social studies education would be better served by offering current connections and addressing various social issues. Prairies are on the endangered list. In many states less than one tenth of 1% of original prairies remain; they have been converted to farmland or have been “developed” for various other reasons. Soon we may only have past popular culture to remind us of the glory that are prairies. Rather than simplistically covering prairies in history, a thematic approach to prairies would allow more relevant investigation of prairies in a variety of contexts—historically, environmentally, and currently (among others). I suggest that a historical overview of prairies using popular culture is a strong way of introduc-

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ing the theme. Again, establishing popular culture centers or mini-units on prairies allows for in-depth investigation for students at all levels. Examples include • Art: Prairies are represented in numerous kinds of art (Andrew Wyeth, Native American art). • Music: Many classic folk songs and some recent music evoke images of the prairie (Carry Me Back to the Lone Prairie, Bury Me Not on the Lone Prairie, and Prairie Wind). • Movies and TV: Classic TV shows, Westerns, and documentaries on prairies can be used (Little House on the Prairie, John Ford Westerns, Days of Heaven). • Literature: Primary sources, poetry, and classic literature (Little House on the Prairie, O Pioneer!, One Day in the Prairie, Lewis and Clark journals). • Technology: Many websites on the theme of prairies exist (use any search engine by typing in” prairies”) • Environment: Many sites and sources have activities/lessons on prairies (Nature Conservancy. Texas Praire.org, prairies.org, Sierra Club). Localizing prairies and focusing on current environmental issues will really connect with students. A Houston Chronicle article entitled “A Revival of Life on the Prairie” published on December 14, 2008, provides an excellent introduction to current localized prairie issues and is relevant for all of Texas. The article discusses ranchers’ efforts to reestablish land to its natural prairie status. Other Texas organizations offer sites and resources for localizing prairies. Using any of the local Texas organizations to further investigate prairie issues would be the next step (Katy Prairie Conservancy, Native Prairies Association of Texas, Texas Prairie Rivers Region). A number of individual or group projects emerge including investigating history, specific habitats, farming, urbanization, wildlife, environment, and economic issues. CONCLUSIONS Prairies are vital to the world. We must do all we can to ensure deep understanding of their historical significance. We must also do all we can to ensure an understanding of current prairie connections. Once again, a broad conception and integration of popular culture can enhance these goals. Popular culture is more than fluff and marketing ploys. It offers texts to facilitate deeper investigation of social studies and history—texts that speak to our students. Prairies truly come alive through popular culture. Websites • Intro to Prairies: http://www.campsilos.org/mod1/index.shtml • Native Prairies: http://www.texasprairie.org/ • Prairies Forever: http://www.prairies.org/

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• North American Prairie: http://www.blueplanetbiomes.org/prairie.htm • Prairie Activities: http://42explore.com/prairie.htm • Katy Prairie: http://www.katyprairie.org/

CHAPTER 24

“FRONTIERS” OF POPULAR CULTURE

Where there is an open mind there will always be a frontier. —Charles Kettering defeatdespair.com/2013 The most significant thing about the American frontier is, that it lies at the hither edge of free land . . . the frontier is a fertile field for investigation. —Frederick Jackson Turner xroads.virginia.edu/~HYPER/TURNER/Chapter1.html Space, the final frontier. These are the voyages of the Starship Enterprise. Its mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before. —Star Trek scifi.stackexchange.com The “frontier” has captured American imagination throughout our history and is enhanced greatly through popular culture. The concepts of exceptionalism and destiny are employed by historians, politicians, and in popular culture with the idea of exploring and yes, capturing the frontier at the very heart of what it means to be American. From early American literature to the television and movie WestRethinking Social Studies and History Education: Social Education through Alternative Texts, pages 191–194. Copyright © 2016 by Information Age Publishing 191 All rights of reproduction in any form reserved.

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erns in the 20th century, to technological innovation today, entering and achieving the frontier is portrayed as the ultimate human goal. Integrating the theme of frontier in social studies more broadly can provide a connection to other themes and eras in history; it can always serve as a context for comparing past and present thematically. There are a number of ways to explore the concept of frontier, particularly in an American context. Regardless, the concept has become very Americanized due to popular culture. In addition to manifest destiny and westward expansion as themes within frontier, other possibilities include innovation and change by investigating farming, ranching, the railroad, communication, industrialization, and mining. Myth and reality is another theme than can be explored, especially through popular culture and a past to present context. And of course, issues dealing with the frontier such as genocide, conflict, social justice, and power/hegemony should also be explored. When thinking of the idea of frontier, many people immediately go a popular culture version of history, and it is often the struggles tied to western expansion and manifest destiny. John Wayne or Clint Eastwood Westerns, television shows like Gunsmoke or Bonanza, and other popular culture references have had a dominant effect in defining frontier for Americans and even the world the last 60 years or so. Even American space popular culture such as 2001: A Space Odyssey, Star Wars, and Star Trek have contributed greatly to our conception of frontier. And innovators such as Steve Jobs and Bill Gates have done their share as well. American identity is directly connected to the idea of frontier. Frederick Jackson Turner is often considered to be the father of initiating frontier scholarship. Tuner wrote and spoke on the impact of the frontier on American culture and identity (1883). It was developed further through historical work and popular culture. Walter Prescott Webb is another historian who furthered the investigation and contributed to the mythic nature (1952). Ray Allen Billington has also written extensively on American frontier (2001). Stephen Ambrose has continued the tradition with his celebrations of the frontier with histories such as Undaunted Courage (1997) and Nothing Like it in the World (2001). Real-life characters such as Daniel Boone, Davy Crocket, Lewis and Clark, Buffalo Bill, Calamity Jane, Wyatt Earp, and many others all contributed individually to the myth and realities of the frontier. Popular culture has been incredibly influential in establishing the frontier as a larger-than-life theme in American identity. Writers such as Zane Grey and Louis L’Amour; actors including Gary Cooper, Henry Fonda, James Stewart, John Wayne, and Clint Eastwood; and movie directors such as John Ford have have contributed greatly to our conception of frontier. And Texas has also played a significant role, both historically and again in popular culture. Among many examples, the Lone Star state, the Alamo, the Texas Rangers, Sam Houston, Texas leaders, the oil and gas industry, and the space industry all contribute the Texas idea of frontier.

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The classic idea of the frontier also comes alive through music and art. Remington and Russell are perhaps the artists who embody the classic idea of art of the American frontier. Ansel Adams and Timothy O’Sullivan captured the frontier through photography. John Lomax is the man known as the person who recorded America, and texts such as Cowboy Songs and other Frontier Ballads document this (2011). There are many collections that focus on music about the American frontier including The Wild West, Riders in the Sky, Western Jubilee, and Songbook of the American West. John F. Kennedy coined the term “The New Frontier” when discussing the space race, but linking frontier to the present goes beyond space. Despite what Star Trek suggests, space is not the final frontier, but it continues to be a great frontier as is portrayed in popular culture. Nevertheless, we can also investigate frontier when focusing on science and technology as well, dealing with technological innovations and scientific advancements in addressing global issues. Links • Music of the West: http://www.songofthewest.com/ • Western Music: http://en.wikipedia.org/wiki/Western_music_(North_ America) • Art: http://en.wikipedia.org/wiki/Category:Artists_of_the_American_ West • Art of the American West: http://www.umsl.edu/mercantile/mexhibevents/ Past%20Exhibits/image_and_imagination/index.html • Gallery of the American West: http://www.gallerywest.com/ • History of the West in Photos: http://memory.loc.gov/ammem/award97/ codhtml/hawphome.html Literature • • • •

Hillerman, T. (1992). The best of the west. New York, NY: Harper. Kitteridge, W. (1997). The portable western reader. New Yrok: Peguin. Lyon, T. (1999). The literary west. New York: Oxford Press USA. Lyons, G. (2002). Literature of the American west. New York: Longman.

Movies and TV • • • • • • •

John Ford, Stagecoach (1939) John Ford, The Searchers (1956) Definitive TV Westerns (2010) Clint Eastwood Western Icon Collection (2010) James Stewart Western Collection (2006) Lonesome Dove (2002) Western Classics (2008)

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Documentaries • • • • •

The West (2004) The Way West (2006) The American West (2010) 500 Nations (2004) Trail of Tears (2010)

Lessons • • • • •

The West: http://www.pbs.org/weta/thewest/lesson_plans/ http://www.vlib.us/americanwest/teachers.htm http://www.keystagehistory.co.uk/KS4/teaching-american-west.html http://www.pkwy.k12.mo.us/panda/curriculum/sochighamw.htm http://americanhistory.mrdonn.org/westernexpansion.html

General Links •

http://www.lessonplanet.com/search?keywords=american+west&media=l esson

Bibliography Abbott, C. (2006). Frontiers past and future. Lawrence: University Press of Kansas. Billington, R. A. (2001). Westward expansion. Albuquerque: University of New Mexico Press. Brown, D. (2007). Bury my heart at wounded knee. New York, NY: Holt. Gouge, C. (2007). The American frontier: History rhetoric, concept. Americana: The Journal of American Popular Culture, 6(1). Hine, R., & Faragher, J. (2008). The frontier. New Haven, CT: Yale University Press. Lomax, J. (2011). Cowboy songs and other frontier ballads. Dalton, OH: Gardner Press. Rollins, P., & O’Connor, J. (2009). Hollywood’s West. Louisville: University of Kentucky Press. Morgan, R. (2011). Lions of the west. New York, NY: Workman Publishing. Slotkin, R. (1998). Gunfighter nation: The myth of the frontier in twentieth-century America. New York, NY: Atheneum. Stephenson, B. (2007). Swaggering savagery and the new frontier. Journal of Religion and Popular Culture,16(2). Turner, F. J. (1983). The significance of the frontier in American history. American Historical Association. Retrieved from http://xroads.virginia.edu/~HYPER/TURNER/ Webb, W. P. (1952). The great frontier. Cambridge, MA: Riverside Press. West, E. (2011). The challenges of the frontier. Scholastic. Retrieved from http://www. scholastic.com/teachers/article/frontier

CHAPTER 25

ACROSS THE BORDERLINE Teaching Immigration Issues Technology

Integrating tech in social studies teaching and learning poses great possibilities. Much has been written through the years regarding technology and media influence on society. We are at a different time, however, as we see and hear daily in the media. Increasingly, people are choosing the Internet, Internet-based technologies, and other technologies for entertainment, information, and communication rather than more passive technologies like television and movies (compare the profit for popular new video games to new movies). The internet and other related technologies are increasingly powerful tools (Gueorguieva, 2007). Integrating new technologies in social studies using the theme of immigration issues is the focus of this article. Immigration remains a major issue in our society and issues regarding immigration seem polarizing at the very least. Mainstream media plays with the issue as if it’s a hot potato. Schools would be better served by integrating such a timely issue in social studies curriculum. How can we better engage students regarding this important topic? Contextualizing immigration and like societal issues with new technologies can offer great possibilities for teaching and learning. Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 195–204. Copyright © 2016 by Information Age Publishing 195 All rights of reproduction in any form reserved.

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There is definitely no dearth of commentary and images on immigration in the media. Unfortunately, as with many controversies, extremes capture our attention. We need a better way of enabling students to critically analyze such issues. Social studies curriculum covers immigration through history in a chronological way, but often doing little to connect the past and present. Perhaps a more relevant method of addressing common themes such as immigration in history is to connect them more directly to our students’ lives. Immigration Issues A particular hallmark of U.S. society is its diversity, made possible largely through immigration. This multicultural heritage is one thing that makes the United States such a unique and amazing nation. In the past, we have often celebrated ourselves as being a “nation of immigrants.” Nevertheless, because of an increasingly complex world, much having to do with globalization and other economic issues, immigrants and immigration have quickly become polarizing issues. For a number of reasons, we currently are experiencing unprecedented levels of voluntary and involuntary immigration in the world. The United States is not the only nation having to face this issue. Unfortunately however, we seem to only be dealing with the issue in simplistic, us-versus-them terms. Immigration is an issue that encompasses race, ethnicity, gender, skill level, and maybe most of all, socioeconomics. It also challenges the perhaps antiquated conceptions of nationhood and borders. The illegal/legal immigration issue has exploded in our society and contributed greatly to what we call “the culture wars.” As the immigration debate continues, we must allow our students to engage more in depth with this issue. Practically every day we see various immigration issues reported in the media. Mainstream media make it a hallmark of ongoing reporting. Border fences, illegal immigrants, civil rights, amnesty, employment, debt, and the like are all hotly contested topics. New technologies and popular culture are texts that offer great possibility for connecting with such a complex issue. “New” Technologies Web 2.0 and other technologies, around since the mid 2000s (in addition to the thousands of interactive websites that exist), are powerful examples for classroom integration, “but still not applied in many classrooms” (Richardson, 2008). Such applications include online video sites such as YouTube, virtual worlds such as Second Life, podcasts, blogs, wikispaces, social interaction sites, and other Web 2.0 applications. One of the biggest issues is how to juggle and integrate these new technologies into meaningful teaching and learning. These technologies are the text/tool of choice by most of our students; they are quickly becoming a text of choice by older generations as well. As with many alternative texts or media, new technologies offer great possibilities for student-

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centered learning. They are also facilitating active involvement in the process as many young people are posting their own videos, hosting their own blogs, and creating their own social networking sites. We know that all ages are engaging in a variety of ways with these new technologies. Students at all levels are choosing online video and other new technologies to acquire information and to interact with others. Many everyday citizens are establishing their own blogs, wikispaces, and websites tied to current social and political issues, and often tied directly to immigration. Online video created by “normal” people often receive thousands and often millions of hits, thus becoming “viral” video. We are living in a time that citizenship and democracy is facilitated through the web more than through the classroom or other institutions in out society. The hope, however, is that these new technologies can help democratize the classroom, enabling teachers and students more choice for critical investigation and doing social studies. A particular goal is to balance social and individual construction of knowledge. Integrating these into teaching immigration or other social issues can only enhance these goals. Our students are already using new technologies themselves outside of classrooms. Why not offer context and connection through these new technologies by integrating them into our teaching? Online Video and More? Possibly nothing has stirred online interaction more than online video sites such as YouTube. Online video sites allow video to be uploaded and shared through the Internet. A recent article stated that “The revolution will not be televised. It will be YouTubed” (Jarvis, 2007). Immigration debates, documentaries, songs, photo montages, and immediate news snippets on immigration are all found on YouTube. Internet video has become a medium of choice as it offers immediate access. It also enables individual and group interaction as many are choosing to create their own electio- related videos to upload. Teachers across the country are using Internet video as project choices; a quick topic-related search in YouTube or Google Video will yield numerous student examples. A huge issue is the increased blanket censoring of Internet video such as YouTube in our schools. Not only is this a teachable issue, but options should be allowed for integrating and using such rich resources. Fortunately, there are ways to grab relevant video through various software such as Media Converter, SnagIt, and YouTube Grabber. Possibilities for teaching using Internet video are truly endless, including using various videos as focus activities, comparison pieces, debate facilitators, and tools to analyze specific immigration issues. More constructivist approaches might include student created videos such as documentaries, debates, panel discussions, and general presentations. Many general immigration information sites are also out there, several of which have been used in classrooms during these recent controversies. Some of the best for teaching and learning are Library of Congress, Immigration for Kids,

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Becoming American, and The New Americans. Each of these sites offers very detailed election-related information on all sides of immigration issues. These sites can be the introductory sites for researching specific issues and can provide ideas for more citizen-oriented endeavors such as volunteering and service-learning projects. Some of the more potentially exciting new technologies for classroom use and which already have applications for teaching about immigration are blogs, wikis, and podcasts. Blogs are proliferating at an amazing rate, and many informative blogs can be found. Most search engines contain blog directories that can help in focusing on particular themes or topics. Again, many teachers are establishing their own classroom blogs and also enabling students to create their own for classroom reflection or project development. Wikispaces also have great potential for classroom use. They basically are dynamic websites that can be developed without the need for web development software or server space. They can include images and video and are often used for discussion and interaction. Teachers are creating classrooms wikis to post student projects and improve classroom communities outside of face-to-face classroom time. Students are creating their own as classroom projects or extensions to classroom activities. Wikis are particularly good for collaborative projects. Podcasts is yet another new technology that is growing in popularity. One need only Google “podcasts” to see the possibilities. ITunes has even established ITune University where schools and universities have set up podcast course, many that are free. Podcasts can be audio-only, but many are also video and can be accessed on the web and downloaded to MP3 video players. Audio-only podcasts require a computer and a microphone, whereas video podcasts require a video camera that can be connected to the computer. Once again, teachers are increasingly producing their own podcasts for follow-up, extension, and homework, to be accessed outside of class. Students’ creating their own podcasts has the most potential, however. Finally, virtual worlds such as Second Life are receiving great press and are also growing as tools for classrooms use. Most virtual world activities have been linked to gaming until recently, but businesses and colleges are starting to use these. Nevertheless, teachers and schools are creating virtual spaces within virtual worlds like Second Life for a number of reasons. Virtual classrooms engage students individually or collectively in teaching and learning activities. Simulations and role-playing activities tied to various social studies events and issues have been established. Virtual museums and field trips are also created in virtual worlds. CONCLUSIONS We really have an opportunity to better connect with our students. New technologies offer a specific method that enables us to accomplish just this. Immigration is an issue that is prevalent and increasingly problematic. We should take this

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occasion and make a difference in our classrooms with addressing immigration with these new technologies specifically. Rather than preaching and transmitting essential knowledge about immigration issues, we can excite students through “their” chosen texts (Rigby, 2008). We still are at the point where constant debate is occurring regarding the influence of technology in our society and especially on gathering or sharing information. We can nevertheless state emphatically that technology is influencing our world, if for no other reason than increased numbers are using new technologies. More and more people are choosing to use these “new” technologies to locate information than ever before. Many are also choosing to create their own related Web 2.0 sites that are truly democratic and interactive. Many students really take to these online environments. We know they take to computers and the Internet. If popular culture and media are truly texts and tools that can facilitate citizenship, democracy, and education, we should definitely include new technologies in the mix. Why not provide better context and connections in social studies through these new technologies? CLASSROOM APPLICATIONS Following is a “template” of sorts for integrating the theme immigration, new technologies and learning centers Centers The following generic centers can be integrated into units that integrate popular culture and new technologies to address various themes in social education. Immigration is employed as the theme with the suggestion that contextualizing social studies through current issues-based inquiry is a way to transform social studies education. Rationale for the Project Integrating new technologies, popular culture, and focusing on “powerful” teaching and learning (including active, challenging, meaningful, values-based, and integrative approaches) to enhance social studies. Use cooperative learning and centers as strategies to enhance student-centered social studies. The purpose of the centers is to model the integration of youth culture in social studies teaching and learning. Procedures Group students into 3–4 member teams and have them rotate through the centers and complete each task. Students should develop an individual portfolio of materials. When finished they should have evidence of work for each of the centers. They should also have a group portfolio. The group portfolio should include

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group sharing notes, group consensus activities, and other “grouped” ideas from each center. Assessment and Expectations Design individual content tasks to complete that will contribute to a group task for each center. Each student should keep a portfolio of individual work. Each person in the group should choose one of the following roles (time keeper also takes role of on-task manager if a group has only 3 members): • time keeper—keeps group to negotiated time limit • reader and materials manager—reads tasks and ensures understanding organizes materials for each center, keeps group materials • recorder—takes group notes • on task manager—ensures that members remain on-task at all times Readings (From the Web) Have students investigate online articles, blogs, or websites regarding immigration. Reading centers may be set up for small-group reading, book discussion groups, literacy sets, and comprehension and extension activities. Have students summarize, critique, and apply ideas and issues from the readings in the reading center. A reading reflection journal could be used. Introductory Sites • LOC: http://memory.loc.gov/learn/features/immig/introduction.html • Scholastic: http://teacher.scholastic.com/activities/immigration/ • Immigration for Kids: http://www.suffolk.lib.ny.us/youth/jcssimmigration. html Informational Sites • The New Americans: http://www.pbs.org/kcet/newamericans/ Music/Online Music Video • • • • •

Students should individually choose a song, lyrics, or series of songs from those provided or find their own examples Listen to the song/s or read the lyrics. Have student compare songs using Venn diagrams or other method. Have students interpret and analyze the songs. What are the songs about? What important ideas, issues, and themes are presented? Choose a related current issue or theme. Brainstorm current songs to compare. Allow students to bring in related songs.

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Songs • City of Immigrants • Deportee • I Pity the Poor Immigrant • Immigration Man • Who’s Gonna Build Your Wall? • Immigration Reform: http://www.youtube.com/watch?v=e94q2vlhqg8 Online Video (documentaries, discussions, panels, animation) • Watch the films or snippets from the films. • Have students take notes or choose the most interesting or important parts. • Have students summarize, critique, and apply the information. Students may write a letter to the editor, develop a newspaper, complete a journal entry, or write a review of the film as if they were historians. • Have students create their own scripts and/or videos on related topics or themes. • Have students compare the film with other films of interest. The Immigration Debate • New America Media: http://news.newamericamedia.org/news/view_alt_ category.html?category_id=14 • Media Matters: mediamatters.org Debate • In the groups, students should research various immigration positions. Divide the group into opposing sides. • Students should develop a pro or con position paper according to the side assigned. • Students should engage in a debate and/or discussion regarding both sides of the issue. • Students should brainstorm positive and negative examples for both sides. • Have students complete a reflection paper or project. • Immigration Issues: http://immigration.about.com/ Movies • Have students explore a film with an immigration theme. • Allow students to choose relevant areas to explore. • Students should keep a web journal of their exploration. • http://www.murthy.com/films.html • http://libwww.library.phila.gov/explore/movielist. cfm?topicTitle=immigration

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• http://www.imdb.com/ New Technologies • Have students create a digital story, blog, or individual/class website on immigration. • Have students develop a plan for the new technology project (storyboard, possible topics, links). • Students should present their projects creatively. Group Project • Groups should choose a theme/issue addressed in any of the centers. • Students should develop a project similar to a “history fair” format on the theme as addressed in any or all of the films and applied to a current relevant topic or issue. • Possible projects include a skit/oral project, visual project, video project, or technology project (or a combination or other project as negotiated). • Projects will be completed in the center and presented to whole class. Extensions • Show examples/snippets of various new technologies focusing on immigration issues. • Discuss reactions to the example. What do the students think about the role of technology in addressing immigration issues? • Have students share their experiences with new technologies (think, pair, share). • Have students read an article on new technologies and immigration. • Engage is a class introductory debate on immigration issues. Students can be placed in small groups to brainstorm ideas and issues on the theme/ subthemes. Questions • What is the influence of technology and media on immigration? • What can new technologies offer regarding immigration? • What are the positives and negatives regarding new technologies and immigration? • How do new technologies compare to other texts for learning about immigration? • How can you compare issues and ideas on immigration using new technologies? • What are the possibilities for creating immigration projects using new technologies? • Develop a class website using wikispaces to share student projects (this may be the project of one of the groups).

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Extensions • Develop a survey to conduct on role of technology on immigration. • Conduct a class or school debate/discussion/information session on immigration (see related sites). RESOURCES Immigration Activities and Lessons • • • •

http://www.pbs.org/teachers/thismonth/immigration/index3.html http://score.rims.k12.ca.us/score_lessons/immigration_debate/ http://www.proteacher.com/090154.shtml http://www.teachervision.fen.com/immigration/teacher-resources/6633. html

Bibliographies • http://www-lib.usc.edu/~anthonya/imm.htm • h t t p : / / w w w. a m a z o n . c o m / s ? i e = U T F 8 & i n d e x = b o o k s & f i e l d keywords=Emigration%20and%20immigration%20in%20 literature&page=1 General “New” Technology Applications Blogs • Blog Directories: http://directory.etalkinghead.com/ • http://www.blogcatalog.com/directory/politics Wikis • Wikispaces: http://www.wikispaces.com/ • Wikis in Plain English: http://www.commoncraft.com/video-wikis-plainenglish Podcasts • Podcast Directories: www.google.com BIBLIOGRAPHY Gueorguieva, V. (2007, December). Voters, YouTube, and MySpace. Social Science Computer Review. doi:10.1177/0894439307305636 Jarvis, J. (2007). Why YouTube gets my vote. Retrieved from www.theguardian.com/media/2007 Prensky, M. (2006). Don’t bother me mom, I’m learning. London, England: Paragon Press. Richardson, W. (2008). Blogs, wikis, podcasts and other powerful tools for classrooms. Thousand Oaks, CA: Corwin Press.

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Rigby, B. (2008). Mobilizing the 2.0 generation: A practical guide to using Web 2.0 technologies. San Francisco, CA: Jossey-Bass. Solomon, G., & Shrum, L (2007). Web 2.0: New tools, new schools. Washington, DC: ISTE.

CHAPTER 26

RETHINKING HISTORY TEXTS Translating to the Classroom

Literature adds to reality; it does not simply describe it. It enriches the necessary competencies that daily life requires and provides. —C. S. Lewis, by Paul Holmer, 1972 My entire social studies education career, including public school teaching and preservice and inservice social studies teacher education, has been to do better by our students. Our students still consider social studies and especially history education to be boring and pretty much meaningless. I also suggest that the politicization of the TEKS and increased focus on narrow conceptions of assessment and accountability by making teaching to the tests our curriculum and instruction only exacerbates the issue. If we really care for our students and love history we need only to see the TEKS for what they are—a minimal starting point that can easily be built upon. The same can be said for standardized tests. A problem is that we can’t build on them by relying on traditional texts and strategies. Different approaches are required and fortunately different approaches can be found. Rethinking Social Studies and History Education: Social Education through Alternative Texts, pages 205–210. Copyright © 2016 by Information Age Publishing 205 All rights of reproduction in any form reserved.

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The great thing about the Internet for education is that there are truly boundless resources for investigating history beyond the TEKS. And there are already numerous alternative texts including literature, nonfiction, and popular culture for more in-depth investigation of history through multiple perspectives. These alternative texts allows students to engage with historical periods in a potentially more empathetic way by exploring sociocultural areas such as class and gender (Bogard, 2011). We also have quite a variety of strategies that allows students more opportunities to do history and engage more creatively and critically with history. Fortunately also, teachers are implementing more student-centered approaches for history education. Teaching American History The University of Houston has partnered with Houston ISD on several Teaching American History grant projects over the past several years. We have engaged teachers in intensive summer institutes, trips to incredible U.S. history sites, various history education professional development, lectures, and technology development. Particular highlights for the university are the several courses (mostly online) that have focused on alternative curriculum and instruction for high school American history. Through the years a course has been offered each summer following the summer institute for grant participants interested in working on a graduate degree at the university. This has led to several local teachers competing for master’s degrees and some even continuing to work on doctorates. What’s more, this has been one of the ongoing projects that have led to even stronger partnerships between the university, local schools, and teachers. Themes over the last few years include Frontier and People, Renegade History, Literature and History, and Rethinking History Education. While there are generally one or two texts to set the theme for the class, teachers are given choices to explore other texts or themes tied to the larger focus of the course or even the TEKS. After the first week or two, teachers individually become the online facilitators and develop an online presentation tied to their text or theme. They then engage the class for a period of time through readings, links, online presentations, and discussion to provide more in-depth investigation of the text or theme. Two texts that offer an important critique of history education are James Loewen’s Lies My Teacher Told Me and Teaching What Really Happened. Many history educators are aware of Lies My Teacher Told Me, but both these books deserve a close reading. They offer a critique of an overreliance on traditional curriculum, instruction, assessment, and resources and provide practical applications and resources for rethinking our approach to history education for the classroom. Introducing other sources in the classroom not only appeals to students, but are more likely to help create connections between students’ background knowledge and the concepts (Sliwka, 2008).

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Frontier and a People’s History This past summer focused on the broad conceptualization of frontier as a theme in American history. While we looked at more traditional frontier themes such as the West and manifest destiny, other frontier themes included borders in history and the present, digital frontiers, international frontiers, future frontiers, and conceptual and imaginative frontiers. Teachers were asked to explore the following (your students can do the same): • What is your definition/conception of frontier? • What are your personal experiences with a frontier? • How can “frontier” be a meaningful theme in social studies/history education? • What are the issues/controversies with frontier as a concept, as a theme? • Why is history important? • Comment on the concept of history as a weapon/as a tool for oppression/ liberation. • How do we do history? Howard Zinn was introduced as a frontier in American history thematically and conceptually as he consistantly calls for multiple perspectives and a more critical and questioning approach to history education (again very necessary for our school classrooms). Finally teachers were asked to choose a text tied to American history such as one of the books in the People’s History series or a theme of interest that can be linked to frontier. Sample texts included A People’s History of the American Revolution, A People’s History of Sports in America, A People’s History of the Civil War, A People’s History of Vietnam, and The New Jim Crow. They were also asked to synthesize the experience and develop an application unit or series of lessons for the classroom. Teachers were asked to share additional resources, links, alternative texts, and popular culture examples that can be applied to themes chosen. Units developed were titled Women in U.S. History, Differentiating U.S. History, Rethinking Frontiers, Everyday People in U.S. History, Heroes and the Truth, and Social History Themes for the Classroom. Literature and History The compartmentalization we impose on disciplines in our school has always bothered me. Integrating language art and history into more of a humanities approach always seems to be a natural idea, although it is easier said than done given current restraints. Having said that, integrating a variety of literature in history would only serve to make it come more alive for our students. One grant course had us doing just that, by looking at the possibilities of children’s literature, novels, and other fiction and primary sources, along with strategies for using these texts in history education.

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Introductory questions included the following: • What are your experiences integrating literature in history teaching and learning? • What are your initial thoughts regarding picture books and other forms of children’s literature in teaching? • What are your initial thoughts regarding increased use of primary sources in teaching? • What are you initial thoughts regarding integrating novels in teaching history? What about novels of the time/novels about the time? • What are the issues with integrating literature in teaching and learning? Many examples for each of the categories were shared. Teachers were asked to find one example from each category to share and facilitate an online discussion focusing on application into the classroom. Teachers talked about obvious authors such as Leo Lioni, Dr. Seuss, Lois Lowry, and Eve Bunting, but other texts were also shared that focused on issues in society and American history. The same can be said of the other categories where teachers talked about literature of the times and literature about the times, both of which can have powerful applications in the classroom. Primary sources suggested focused on great documents, speeches, and first-person accounts in history, which again can really help history be more meaningful. Teachers were also asked to synthesize the literature in history ideas and examples in an online essay and to develop a unit that focused on using literature to teach a theme in American history. Themes ranged from Civil Rights using The Watson’s Go to Birmingham along with songs, art, and other literature of the time, to the Holocaust using a variety of children’s books, including The Sneeches, The Butter Battle Book, Number the Stars, Terrible Things, and Maus. Teachers were also asked to use student-centered strategies in their units and integrated strategies such as cooperative learning, centers, book groups, debates, and technology projects. A Renegade History The concept of renegades in history was applied at another point, so as to allow for the investigation of others in American history—taking Zinn’s idea of challenging heroification and looking at outsiders or those who question the mainstream. With that in mind, A Renegade History of the U.S. was used as a springboard to look at individuals and groups who often bucked the system, but also often facilitated positive change in American history. Outlaws, revolutionaries, and changemakers such at Martin Luther King Jr. and Malcolm X are brought forth as needed players in American history—their stories and the stories of movements outside of the mainstream are vital in the growth and development of our democracy.

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Questions used to explore themes of renegade, mainstream, or change agent: • Russell uses the concept of “renegade” in American history in a unique and positive way in his text. Your thoughts? • Is this an important perspective/theme? Why? • What are the major themes/issues emerging in an exploration of renegades? How do they relate/compare to other themes addressed in teaching American history? • How does this challenge “mainstream” approaches to American history? • Choose a theme or issue emerging from the concept of renegade How might you integrate this into your teaching? Teachers choose a variety of themes/texts to explore in depth, including Gangs of New York, Hispanic Nation, The Way We Never Were, Just my Soul Responding, and Stonewall. Each of these were developed into an online content presentation that included readings, links, online discussion, and extensions. Teachers were asked to compare the course text (A Renegade History . . . ) with their chosen text and asked to adapt ideas into applications for the classroom in the form of lessons and units. Themes of the lessons/units included Texas as a renegade state, rethinking immigrant culture, colonial renegades, and outlaws in the past and present. CONCLUSIONS Teaching and learning American history can be an exciting experience for teachers and students. One key is variety—variety through texts and tools—and alternative themes and alternatives texts in the form of literature and primary sources for examples can only enhance the possibilities. Fortunately, great examples abound in fiction, nonfiction, children’s literature, not to mention other texts such as music and art. History told in story form reaches students on a level that notes and text-reading simply cannot. Our university/school partnership has seen great adaptation through the years in the form of teacher efficacy, curriculum development, skills development, and student-centered applications. Teachers only need time and support for rethinking history education through such resources. We just need to allow for choice, challenge, and change to encourage this. Next year our theme will be revolutions, both the traditional sort, but also more traditional conceptions. We will look at the American and Industrial revolutions of course, but we will also look at Civil Rights, women, children, the arts, technology, revolution and change, and the future among other things. I look forward to the texts and tools we investigate to further the cause of rethinking history education and making it come more alive! Sample Texts • Lies My Teacher Told Me

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Teaching What Really Happened A People’s History of the United States A People’s History of the American Revolution A People’s History of Sports in America A People’s History of the Civil War A People’s History of Vietnam The New Jim Crow The Sneeches The Butter Battle Book Number the Stars Terrible Things Maus A Renegade History of the United States Gangs of New York Hispanic Nation The Way We Never Were Just my Soul Responding Stonewall

Online Resources • • • • •

Zinn Education Project: http://zinnedproject.org/ Digital History: http://www.digitalhistory.uh.edu/ Historyteacher.net: http://www.historyteacher.net/ Facinghistory: http://www.facing.org/ Teaching American History Grant Project Resources: http://www2.ed.gov/ programs/teachinghistory/resources.html • Teaching History: http://teachinghistory.org/ • National Council for History Education: http://www.nche.net/ REFERENCES

Bogard, D. (2011). How fiction can engage history students in the past. The Guardian. Retrieved from http://www.guardian.co.uk/teacher-network/2011/nov/25/fictionengage-history-students#start-of-comments. Loewen, J. (2007). Lies my teacher told me. New York, NY: Touchstone. Loewen, J. (2009). Teaching what really happened. New York, NY: Teachers College Press. Raye, K. (2012 . What are the benefits of using historical fiction to teach history? ehow. http://www.ehow.com/list_6828703_benefits-historical-fiction-teach-history_.html Sliwka, C. (2008) Connecting to history through historical fiction. Language Arts Journal of Michigan, 23(2), Article 11. Retrieved from http://scholarworks.gvsu.edu/lajm/ vol23/iss2/11