Submission Guidelines

JoLLE is now accepting manuscripts for its Fall 2014 unthemed issue.  All submissions should meet the journal’s guidelines, detailed on this page, and should be submitted by August 1, 2014.  Authors may find it helpful to consider JoLLE‘s understandings of language and literacy, outlined below, and to read the current and recent issues.  Manuscripts submitted after the deadline will be considered for future issues of the journal.

JoLLE understands “language and literacy” to include not only reading and writing, but other elements such as:

***   the social, cultural and historical contexts of language and literacy learning and teaching;

***  ongoing changes in communication tools and practices in the 21stcentury; and

***  issues involving first and multiple language acquisition and use, regardless of semiotic systems involved.

The journal publishes the work of professionals and students in language and literacy education, including:

  • Reports of research (including experiments, case studies, surveys, philosophical studies, and historical studies),
  • Voices from the Field: curriculum project or classroom experiences
  • Commentaries on issues pertaining to research, classroom experiences, or public policies in language and literacy education
  • Literature reviews
  • Theoretical analyses
  • Book reviews
  • Software/app reviews
  • Translations of articles previously published in other languages
  • Poetry and art (photographs, drawings, paintings, etc.) related to language and/or literacy

Submit all manuscripts, questions, and inquiries electronically to jolle@uga.edu.

Submit all book reviews to bookrev@uga.edu.

Submit all poetry and art to jolleart@uga.edu

Manuscript Submission Preparation Checklist 

(See below for separate guidelines for poetry and art.)

JoLLE‘s acceptance rate is approximately 12%, and all submissions that pass an initial Editorial Board review undergo at least two double-masked reviews.  As part of the submission process, authors are required to check off their submission’s compliance with all of the following items, and submissions may be returned to authors who do not adhere to these guidelines.

  • Style Submissions must follow the style outlined in the Publication Manual of the American Psychological Association (2009, 6th edition)—available from the American Psychological Association, Order Department, P.O. Box 2710, Hyattsville, MD 20784. The submission file should be in Microsoft Word, RTF, or WordPerfect format. Any supplemental files should be in Microsoft Word, RTF, WordPerfect, or Excel format.
  • Contact information Supply complete contact information for all authors on the title page: Name, affiliation, complete street address, email address, fax, phone numbers (the more, the better). Indicate the corresponding author.
  • Abstract All manuscripts, except book reviews, should include an abstract of 75–120 words.
  • Author identification The complete title of the article and the name of the author(s) should be only on the first sheet to ensure anonymity in the review process. Subsequent pages should have no author names but may carry a short title at the top. Information in text or references that would identify the author should be deleted from the manuscript (e.g., text citations of “my previous work,” especially when accompanied by a self-citation; a preponderance of the author’s own work in the reference list). These may be reinserted in the final draft. The author’s name should be removed from the document’s Properties, which in Microsoft Word is found in the File menu.
  • Typescript Manuscripts should be in upper and lower case, double-spaced, with 1” margins on all sides. They should be in MS Word, WordPerfect, or RTF format. Subheads should be used at reasonable intervals to break the monotony of text. Words and symbols to be italicized must be clearly indicated, by either italic type or underlining. Abbreviations and acronyms should be spelled out at first mention unless found as entries in their abbreviated form in Merriam-Webster’s Tenth Collegiate Dictionary (e.g., “IQ” needs no explanation). Pages should be numbered consecutively on the bottom right, beginning after the title page. Your manuscript should be typed and double-spaced throughout (including quotations, endnotes, and works cited), Include a title page with your name, address, school affiliation, telephone number, and email address. No identifying information should appear in the manuscript or the works cited.
  • Length Manuscripts for the featured articles section should typically run between 5000 and 7500 words, not including the reference list. Manuscripts for the Voices from the Field section should typically run between 1500 and 2500 words.
  • Notes and references Notes are for explanations or amplifications of textual material. A reference list contains only references that are cited in the text. Its accuracy and completeness are the responsibility of the author(s). Please adhere to APA 6th edition publication guidelines for all notes and references.
  • Tables, figures, and illustrations The purpose of tables and figures is to present data to the reader in a clear and unambiguous manner. The author should not describe the data in the text in such detail that illustration or text is redundant. Figures and tables should be keyed to the text.
  • Language All authors should do their best to use non-discriminatory language in their manuscripts.

We cannot publish any material that has been previously published in print or electronic form. Please do not submit material to other publishers while your manuscript is under consideration for the Journal of Language and Literacy Education.

We will acknowledge receipt of all manuscripts by email. The Journal of Language and Literacy Education is refereed, and virtually all manuscripts are read by two or more reviewers. We will attempt to reach a decision on each article within three months.

If your article is accepted, we will notify you and ask you to provide a brief biographical statement. The editor may suggest or make major revisions in consultation with the author; however, because of the press of deadlines, the editor maintains the right to make what she perceives to be minor revisions without seeking the writer’s approval.

Review and Revision Process

We will acknowledge receipt of all manuscripts by email. The Journal of Language and Literacy Education is refereed, and once a manuscript has been received, the editorial staff will determine if the piece will be sent out for review, the exception being for invited manuscripts. All invited manuscripts are sent out for review. All manuscripts chosen for review are read by a minimum of two reviewers. We will attempt to reach a decision on each article within three months.

The editor may suggest or make major revisions in consultation with the author; however, because of publication deadlines, the editor maintains the right to make what she perceives to be minor revisions without seeking the writer’s approval.

Once an article is accepted, we will notify you and ask you to provide a brief biographical statement.

Permission to Publish

In submitting a manuscript to the Journal of Language and Literacy Education (JoLLE), you agree to the following terms of publication:

Approval and Acceptance: We mutually agree that publication of the manuscript is contingent upon its acceptance for publication by JoLLE and upon its meeting editorial standards.

Warranty: You warrant that the manuscript is original with you; that it contains no matter which is libelous or is otherwise unlawful or which invades individual privacy or infringes any proprietary right or any statutory copyright; and you agree to indemnify and hold JoLLE harmless against any claim or judgment to the contrary. If JoLLE consents to publish your manuscript, and you consent to publication, you grant and assign to JoLLE for its exclusive use the entire copyright for the manuscript.

Previous Publication and Permission: You warrant that the manuscript has not been published elsewhere in whole or in part and that no agreement to publish the manuscript or any part or version thereof is outstanding. Should the manuscript contain any material which requires written permission for inclusion in, such permission shall be obtained at your own expense from the copyright owner and submitted with the manuscript.

* When the final version of the manuscript has been returned to the author for approval, s/he must respond via email, the body of which must contain the following:

I certify that I am the author of this manuscript, and that all information contained within is original with me. I further assure that this manuscript has not been published elsewhere. I assign full copyright of said manuscript to the Journal of Language and Literacy Education and provide my permission for the manuscript to be published.

 

Poetry and Art Submission Guidelines

Submissions should be sent to jolleart@uga.edu. Please include a cover letter with the title(s) of the works you are submitting and a brief (maximum 75-word) bio. Submitted work should not have been previously published (note that for our purposes, publication on your own blog or social networking page is not considered prior publication).   Simultaneous submissions are not considered.

  • Poetry We accept submissions related to language and/or literacy education of up to four (4) poems in a single word or text (.doc, .rtf, or .txt) document. Poems do not have to be on separate pages.  Please single space (unless spacing is part of the poem) and put your name and email address on the first page. Spoken poetry in mp3 format may also be submitted along with the written text.
  • Art We accept submissions related to language and/or literacy education of up to four (4) works of art (photos, drawings, paintings,  etc.) in .jpeg, .tiff, .gif, or .png formats.

The review board aims to respond to submissions within 6-8 weeks. No one should submit new work until a decision on the previous submission is received. We regret that we are not able to give feedback on individual submissions.

In submitting poetry and/or artwork to the Journal of Language and Literacy Education (JoLLE@UGA), you agree to the following terms of publication, which must be acknowledged via email:

 I certify that I created this work and that it is original with me. I assign first-time copyright of said work to the Journal of Language and Literacy Education and provide my permission for it to be published. After publication, rights to this work return to me. If I choose to republish in any manner—electronic or print—I will acknowledge JoLLE@UGA as the original place of publication. 

 

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What do Activist Literacies Look Like?

Painting of a woman in cap and gown with the words "undocumented" and "unafraid" in the background.

“UndocuMary” by Alejandro Galeana

What do Activist Literacies look like?

By Alejandro Galeana

If I had to sum up my experience at the JoLLE conference in one word, it would have to be “Amazing.”  I learned so much about other people’s contributions to understanding Literacy.  In my opinion, a lot boils down to social justice and human communication, a passion of mine, and it was very inspiring to learn about the work of K.C. Nat Turner, Glynda Hull, and Christian Faltis.

I love Art and Activism. I am very aware of how pieces of art- visual, musical, and written- throughout time have been greatly influenced by political movements. Every time I join a rally, go to a march, or spread information about the undocumented movement with my groups, GUYA (Georgia Undocumented Youth Alliance) and #Undocufiles on Twitter and Instagram, we include some kind of visual art. Recently, I was commissioned by one of my beloved teachers, Mr. Hicks, for a painting. I tried my best to use what he believed in and liked and what I saw in my own head, in order to paint him a piece he’d like. I’m pretty sure he loved it, as he would not stop talking about it all week afterwards and was not shy to show it off to the school.  It now hangs in his classroom.

It was truly an honor to meet Christian Faltis. Interacting with Chris and his paintings was inspiring.  What I really enjoyed about the paintings is how they depicted Undocumented Immigrants, and more specifically, Undocumented Latino lives in the US, the hardships and struggles one must face in a land that is not their own. I spoke with him for a good half hour about art and how he got his ideas for some of his paintings, and what I could do to better myself as an artist, too.

Painting

“Virgen del Barrio.” Oil painting. Christian Faltis, 2011.

My favorite painting displayed that night was one of a tattooed Virgin Mary, “Virgen del Barrio.” Visually it caught my eye whenever I walked around the room. The color was so vibrant against the black background, her tattoos were the element of the painting that really stuck out, her facial expression was edgy, hardcore in a sense, much different from the traditional Virgin Mary I have seen. I loved it.

I was happy to hear about Glynda Hull’s project in Oakland city and also other parts of the globe for children who are interested in understanding Literacy and language. She spoke of a rapper/ activist whose onstage name is Relixstylz. His music was very truthful and well produced with pictures that helped illustrate his message. She also showed us a track that one of her students recorded with lyrics; she rapped about her life and the similar experiences faced by other children her age and race in a poor town with gangs and violence and limited opportunities. It was all very inspiring and humbling, and it made me really think about how much easier I have it in some ways and how I should not take life for granted. It made me feel honored to be involved in my society just as they are and inspired me to do even more.

This is what Activist Literacies looks like to me.

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Images, Energy, and Action

Photograph of art supplies

Participants used a variety of artistic mediums during Hope Hilton’s session “Topophilia and the Literacy of Space.” All photographs taken by Steven Landry unless otherwise noted.

  Images, Energy, and Action

by Steven Landry

As a photographer, I get to enjoy the act of capturing moments in time for later analysis. Like a researcher, I reflect upon the moment and make meaning through a critical view. The JoLLE Conference, as an experience, supported an idea I have about the limitations of photography: a static image belies the energy and action behind the fragment of time captured.

Moving from room to room and watching multiple literacies in action – from traditional print-centric presentations, to more media-centric video games, and even kinesthetic tableaus – I saw varied activist literacies at play. On one level, I envisioned Talia Pura’s interactive drama scenes employed in my secondary classrooms while exploring texts like Macbeth. Could Shakespeare’s characters be given the opportunity to slow down, digested, and even experienced as alive? On another level, the genuine and vested engagement from participants and facilitators was atmospheric and inspiring.

Glynda Hull’s experience with digital literacy – specifically showcasing student-made video and audio creations reflecting life under pressure – could serve as mentor texts for the adolescents I teach. Employing this format would give voice, agency, and – through social networking – an audience for my learning community.

Photograph of an adult sculpting figures with playdough

In “Speed Dating with iPads” participants created stop-motion animated films in just 90 Minutes.

In the Create Session, “Speed Dating with iPads: Creating Discipline-Specific Films in 90 Minutes,” Jenifer Jasinski Schneider, Aimee Frier, Rebecca Powell, and Margaret Krause (all from the University of South Florida), engaged participants in a mini multi-media production process to create stop-motion animation films.  Schneider’s cork would be easily utilized in a block schedule Language Arts classroom regardless of grade levels and perceived student abilities, and could help students better understand the composing process through multiple modes.

JoLLE enabled me to take part in an ongoing dialogue of how to make meaning through diverse formats: paintings, hand-drawn pictures, music, digital texts, video, and still images. I still reel from the potential applications for the ways of thinking, synthesizing, and creating represented by presenters. From my own pictures, I see the JoLLE participants’ creations translated to those in my classrooms. Yet the moments I snapped cannot begin to capture the inspiring experiences or the positive energy I felt from students, teachers, professors, and fellow artists at the conference. While looking at the still images I shot, I can easily visualize the dynamic impact my episode at JoLLE will have upon my future lesson plans and research.

Steven Landry teaches high school in Athens, GA.  He will be entering the doctoral program in Language & Literacy Education at The University of Georgia in the fall of 2013.

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ac∙tiv∙ism \ˈak-ti-ˌvi-zəm\

Photographs of people holding signs that say "Critical Literacy."

Conference attendees in the JoLLE Photobooth.
Special thanks to Denise Payne for donating the Photobooth and her expertise to the conference.

ac∙tiv∙ism \ˈak-ti-ˌvi-zəm\

: a doctrine or practice that emphasizes direct vigorous action especially in support of or opposition to one side of a controversial issue

 As part of JOLLE’s inaugural conference on activist literacies, a portion of our program was dedicated to “Continuing the Conversation.” To consider ourselves as activists in our teaching and research means that our work must extend beyond our presentations, papers, and even ourselves. To facilitate this type of hands-on activism, the JOLLE conference put together a series of interactive activities that allowed conference participants to engage with ideas and possibilities of activist literacies.

Activist PhotoBooth In the lobby of the Georgia Center, JOLLE set up an Activist Photobooth. One of our most popular activities, everyone who attended our opening night gala took photos with both friends and strangers, with signs that shared their thoughts on reading, literacy, and activism  Students, teachers, parents, and researchers used this space to create not only statements of solidarity but moments of solidarity towards a similar cause.

VisibleTweets Using the hashtag #JOLLE2013, conference participants and presenters used Twitter to share comments, queries, and revelations about how their research and teaching can be impacted through activism.  All of the tweets were displayed via VisibleTweets, an online Twitter display for public spaces.  Throughout the day, conference onlookers could keep up with presentations throughout the day and spread the news of the powerful work being done here at the JOLLE conference.

Photograph of a tweet. Green background with black text that states "RT@KimberlySlusser: A great couple of days in Georgia with many inspiring movers and shakers! #jolle2013

Visible Tweets from the #JoLLE2013 Conference

Interactive Wall Attendees participated in a Candy Chang inspired interactive wall exhibit. Teachers, artists, and professors wrote about their memories and the importance of their work on society. A participant could choose from the following open themes: I’ve taught, I teach, or I Research

A Found Poem created from excerpts from the Interactive Wall

I teach. I’ve taught. I research.

In high school, middle school,

K-12, 9 and 10th grades.

In NC!, LA and Oakland,

Atlanta and

Lawrenceville.

Learned that I can do anything!!

Love incorporating student activist projects,

Aimed at social justice.

I could change everything,

Every year.

I teach. I taught. I research.

I feel enlightened.

I miss it.

Without this,

The world loses a sense of place & humanity,

the world would be less empowered.

I love teaching.

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Discomfort and an Identity Shift

Photograph of people acting out a skit

Meghan and other participants at the conference create a tableaux.
Photo by Steven Landry.

Discomfort and an Identity Shift

Meghan B. Thornton

Going into the Activist Literacies conference held by the Journal of Literature and Language Education (JoLLE) at UGA, I was a bit wary. I was sure that if I sat through another workshop touting the benefits of an alphabox or a new design for literature circles, I would quietly stand up, collect my belongings, and drive the six hours back to North Carolina. Well, maybe not so quietly. Instead, what I found at JoLLE was a necessary discomfort. The conference focus on redefining the term “literacy” forced me to question not only what and how I teach, but why! After two days of equal amounts frustration and enthusiasm, I realized I needed to rethink my comfort zone and my identity as a teacher.

Like so many reading and writing teachers, my comfort zone lies nestled in the world of written words. Student reads book, student responds in essay. Words, words, words. But in a world where people communicate more through face-to-face meetings and presentations, video, and even picture, written words have become less integral to the effective communication of meaning. JoLLE forced me to question: is my “word-centric zone” adequately preparing students to communicate meaning in the modern world? The first step in breaking out of my word comfort zone was in Talia Pura’s (2013) session on creating theatre for social change. Through the use of tableaux in the classroom, students can make the abstract more concrete. Such mental and physical discomfort in the classroom pushes students to think more deeply about the conflicts and themes in a text and their possible real-world implications. Suddenly, education shifts from passive acceptance of information to a contact sport. Students are pushed beyond their comfort zones and into a zone of questioning, frustration, and (perhaps, eventually) activism. Is this expression not more immediate, engaging, and potentially memorable than a written reflection?

Digital storytelling was a common thread throughout the conference. For me, digital storytelling was something I had heard of, but couldn’t pick out of a crowd. What I found was that through digital storytelling, teachers and students can create powerful meaning through spoken word, music, and pictures. Visual response methods, such as these, prompt students to focus on meaning in text, without allowing language to get in the way. Barbara Pace (2013) shared multiple digital stories in her session, explaining how such stories can be used by teachers to explain and introduce an abstract concept, but also how students can use digital stories to explore the deeper meaning of “story” rather than simply following a plot line through the events of the text. Thus, students are challenged to find “the story core” in traditional, written stories, as well as the multimedia world they experience on a daily basis.

Not only has my comfort zone now expanded to incorporate acting and digital storytelling, but I am also realizing that part of being a literature teacher is teaching students to become media literate, as well. I have always found ways to bring video clips, commercials, and music into my classroom, but never have I overtly taught students the vocabulary necessary to analyze and talk about such media. In Kathy Garland’s (2013) session on playing with media in school, she emphasized the need to teach our students the terminology necessary to a meaningful discussion of media. Knowledge of the most common shot types in film, for instance, can help students understand perspective. Furthermore, in comparing two different representations of a text, students can discuss how writers and film editors create meaning and emphasis in different ways. No longer can the literature teacher live simply in the comfortable world of words.

Instead, teachers must expand their understanding of “literacy” to incorporate the media as well. As a literature teacher I love to read, and read often. However, after JoLLE’s conference it became very clear that my reading needs to extend beyond the young adult literature that I teach. I work daily to cultivate lifelong readers and learners. Yet, I have left myself out of this mission. I need to start seeing myself as a student, in constant need of information and inspiration.

During the conference, I was intrigued by the idea of multimodal literacies. As a digital native, technology use in the classroom is fairly natural for me. However, in my reading after the conference, I started to see how my idea of technology use was a bit antiquated. Rather than saving technology for “special assignments” or one big project each year, it needs to be an organic part of the classroom. Students need to feel that they are part of a community of readers, writers, and thinkers. They need to develop meaning out of text through collaboration. Upon leaving our classrooms, students will be expected to synthesize gross amounts of information (from a variety of texts and media) and then efficiently share that information on a digital platform. If teachers are to prepare adequately students for this challenge, then they must routinely use modern technology and authentic, engaging lessons and assessments to push students to think more deeply and critically about the material they read and experience. Without considering themselves students as well, teachers will become the roadblock for their students, preparing them for a world that is ten years out of date.

I, like many teachers, attend a lot of workshops and training. Rarely are current researchers in the field presenters at local conferences. Furthermore, after five years of conferences, workshops, and seminars, I find my interest at such events waning. Not because I don’t want to learn new ways to teach my students in an engaging and rapidly changing world, but because the information presented at such conferences is redundant. If our teachers are to maintain their professionalism in the field and prepare students for the technology-focused world of immediate information, then ongoing teacher training needs to reflect this changing landscape.

While professional development should be altered, teachers needn’t wait passively to be informed by others of new trends. Teachers must experience physical and mental discomfort and become activists for literacy. Where the availability of new research is lacking, teachers must take it upon themselves to become students and seek out the current research and technologies they need. Conferences such as JoLLE’s Activist Literacies need to play a more central role in the professional development of teachers. Such conferences challenge teachers to question whether or not they are adequately preparing their students, and give them the tools to start making necessary changes and improvements to their curriculum and methodologies. Next year, when I attend JoLLE’s conference again, I hope to see more uncomfortable practicing teachers in attendance, working to become activists for literacy by redrawing their comfort zones and considering new identities as students themselves.

References

Garland, K. (2013). Expanding teacher’s literacy: Playing with media in school. Session presented at the JoLLE Spring Conference, Activist Literacies: Inspire, Engage, Create, Transform, Athens, GA.

Pace, B. G. (2013). Expanding teacher’s literacy: Digital storytelling in a third space. Session presented at the JoLLE Spring Conference, Activist Literacies: Inspire, Engage, Create, Transform, Athens, GA.

Pura, T. (2013). Creating theatre for social change. Session presented at the JoLLE Spring Conference, Activist Literacies: Inspire, Engage, Create, Transform, Athens, GA.

Megan Thornton is a high school teacher at Endeavor Charter School in Raleigh, North Carolina. She can be reached at meghan824@gmail.com.
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Who do You Want to be in the World?

“Until the great mass of the people shall be filled with the sense of responsibility for each other’s welfare, social justice can never be attained.”  ~Helen Keller

Photograph of young boy drawing on a large piece of paper.

Jack adds his ideas to a mural that will serve as inspiration for a public art installment.
All photographs courtesy of Steven Landry unless otherwise noted.

 

Dear Jack,

I’m writing this letter after attending the JoLLE Conference with you. It was just supposed to be a quick visit to support a friend, support a cause, and hear your dad play guitar. However, you lit up the moment we entered the event space on opening night. You marveled at the art on display, listened intently to the keynote speakers, and took notes. You didn’t want to leave.

The theme of the conference was – Activist Literacies: Inspire, Engage, Create, Transform.

This conference did that for you. You were engaged, inspired, transformed.

When you heard K.C. Nat Turner give his keynote address, you were hooked. He spoke about the killing of children in drone strikes and you began to ask questions. Specifically, why would our government fund a program and sanction missions that kill children? This is not an easy question – for you or for me. I have to admit that I didn’t have a great answer for you, but we did have a great conversation. It was at this moment that I stopped thinking about you as just my child, and saw you as a person in the world. A person with thoughts, questions, and a voice.

We sat at a cafe table by a window, eating sandwiches and talking about safety, and what being safe in the world affords us. We marveled at how lucky we are that we have food, a house, a car, pets, books, art supplies, musical equipment, technology, and how that makes it easier for us to ask questions and take risks. We talked about how we are all interconnected and made out of star stuff. We talked about being small in a vast universe and how is it possible to be heard when we are so tiny. We decided that every small thing we do adds up to be a bigger thing, so we should just keep on doing the little things.

I know you are aware of what I do at my job, but I am not sure you know what I am passionate about in my work. My deepest desire is to help create learning experiences where everyone is included, where students who come are not made to feel like second class citizens just because they don’t see well, or hear well, or read well. My goal each day at work is to help people think – what barriers are inherent in what I am creating? How can I reduce those barriers? I want people to believe that it is not the learner who is broken, but it is the curriculum that is broken. Because people are the way they are. And we should respect all people. We should help all people feel successful when we can. I strive to create learning that isn’t just accessible, but is also inclusive. Radical inclusivity – that is my praxis.

I am grateful that I experienced this conference with you, because it kindled a fire. You are now in the process of finding your voice, your power, discovering how you want to be in the world.

Photograph of a boy and woman looking at a drawing.

Jack, a 2nd grader who attended the conference with his mom, in Karen Gerow’s session “Drawing in/on Math.”

Right now, at age eight, you draw constantly. You might love art more than Minecraft (that is a lot). You spend your time making monsters, zombies, stickmen in various states of trouble, mazes, maps, skulls, cityscapes, and alternate dimensions. Seeing art by both adults and children on display in the same space – at the same time – flipped a switch for you. I think for the first time you realized that what you create, what you have to say, your voice, matters to more than just you.

Right now, at age eight, you drum constantly. You might love drumming more than art (that is a lot). You drum with sticks and cymbals. You drum with your hands, beating out rhythms on the table or on your body, when you are not at your kit. Your teacher allows you to drum when you work at school. Listening to the songs and music created and composed by kids opened your mind to the idea that your music, your voice, matters.

Through this conference, you learned that art and music are valid ways to be in the world, to communicate, to demonstrate understanding, to communicate, to inspire, to contribute, to maybe one day change the world. You spoke with adults who have spent their lives dedicated to helping students find their voice and use that voice to create change. I am looking forward to taking this journey with you.

Love,

Mom

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Disclaimer

The views expressed on this website and contained within featured documents are solely those of the author(s) and artist(s) and do not reflect the views of the Department of Language & Literacy Education, The College of Education, or The University of Georgia.