Change in Classroom Dialogicity to Promote Cultural Literacy across Educational Levels
Abstract
:1. Introduction
1.1. Research on Dialogic Teaching
1.2. Research Question
2. Materials and Methods
2.1. Design and Procedure
2.2. Participants
2.3. Design and Procedure
3. Results
3.1. Distribution of Categories by Educational Level in Session #3
3.2. Distribution of Categories by Educational Level in Session #8
3.3. Differences between Session #3 and Session #8 across Educational Levels
3.4. Illustration of Classroom Diaologicity with Discourse Excerpts across School Levels
Student #1: From Tarragona (S5).Teacher: Ah, and why were you living in Paris? (T3).Student #1: Because I was born there (S3).Teacher: But you didn’t stay there for a long time, did you? (T3).Student #1: No (S5).Teacher: And that’s why you are not from Paris anymore, right? (T5).Student #1: No (S5).
Teacher: Ok. Baboon doesn’t give up, right? Although he is lonely... He gets up and turns on the light of the moon. Student 1?… (T3)Student 1: If I had to choose between family or being alone, I’d always choose family (S4)Student 2: Home is where you like to be and where you’re happy; that’s why there’s the expression “home sweet home”. (S4) […]Student 3: Home is where your father, your mother and your family are, and is also what you need to live, like water... (S4)Student 2: Home is where your heart is (S4)
Teacher: You know all the rules of dialectical conversations, don’t you? Basically, all options, opinions have to be respected and they have to be argued, okay? What do you think the meaning of the film is? (T5).Student #1: I think that it is like a representation of many people going to work away from home and working in a job that they may like but being a long time alone and away from home and excluded. This is why he seems sad. (S3).Teacher: Very good, very interesting. Does the other group agree? (T1).Student #2: We think that... well... it’s a person or whatever works on the moon turning it on and off every day so it’s day and night and... of course it’s alone and through music he feels better and expresses his feelings. (S3).Teacher: What makes you think that he is sad and melancholic? (T2).Student #1: He was playing sad songs with his trumpet. (S4).Student #3: Also, he is crying and he misses home (S2).Student #1: Well, not only in that moment, his life is sad, he wakes up and does not smile at all. It is very dark, no lights, nothing happens (S3).Student #4: And boring (S2).Teacher: Very well! So, what makes a house be a home? (T4).
4. Discussion
5. Limitations of the Study
Author Contributions
Funding
Institutional Review Board Statement
Informed Consent Statement
Data Availability Statement
Conflicts of Interest
Appendix A
Lesson Overview | Session Number 8 | ||
Cultural Text: | Baboon on the Moon (Film) [40] | |
Age | Years 14–15 | |
Theme | Empathy | |
(Sub-Theme) | Belonging | |
Learning Goals | Dialogue and Argumentation | Share ideas/reach consensus |
Cultural Learning Objective | To understand the impact of living conditions in intercultural relationships; to reflect on the influence of loneliness in the Other; to reflect on “home” as a concept. | |
Lesson Procedure | ||
Share film/book (including pre-share task if appropriate) | (Students are in the lab organised in small groups. Each group has access to a computer). The teacher will not give any a priori instruction, and students will observe the film and reflect on what this one conveys to them. | |
Activity to stimulate thinking (optional short task) | After watching the film, the teacher will guide a whole-class discussion on the generic subject “what is a home?”. Eventual questions/sub-themes to be handled: nostalgia; empathy; home as a concept; the meaning/emotional burden of the music; the origins of the main character of the film; what the moon represents, etc. Some questions that can guide the discussion:
| |
Ideas for whole class/group discussion. Including discussion questions/talking points/dilemmas | 1. First activity (using the platform): while organised into groups, students must choose a sequence of the story, with words representative of the meanings of the film and build a video-narrative (video-graphic synthesis) choosing three moments/excerpts of the films and presenting its plot. 2. Alternative of first activity (for the piloting phase): in groups, create a narrative with simple drawings representing the main idea(s) of the film according to your interpretation(s). See template attached. 3. Second activity: in pairs of groups, each group from class A shares with a group of class B its video-narrative. Each group chooses a title and a short explanation about the micro-story of the other group. 4. Alternative of second activity (for the piloting phase): Each group exchanges their narrative with another group, who has to interpret it and put a title on it. | |
Reflection activity (reflect on learning objectives) | The teacher returns to the question “what is a home?” to the whole class, and each group responds with three key-words. | |
Cultural artefact (May be part of the session or extra) | Students must create a video-graphic synthesis of the cultural text. Students choose the excerpts they feel the most relevant and rebuild the narrative. Afterwards, they choose a title for it and elaborate a short commentary about the video-graphic synthesis of the other participating class. |
Appendix B
Abstract of Ant (Ocker, [43]) This film, part of the Animanimals series by Julie Ocker, depicts the systematic and collective life of an ant colony. The military precision of the ants is an apt catalyst to discuss the social bonds that define contemporary communities, including Europe as a whole. The ants work together perfectly, except for the plucky little ant who leads the story. This ant has his own way of doing things; his creative spirit causes an important intervention in the systematised workings of the community. The other ants join in. At the end of the film, the ant believes the master ant will be angry with him—and so do we. But all is well: the master ant congratulates him for his successful thinking. This is a joyful, vibrant piece of animation with a clear and affirmative message about the role of innovation and outside-the-box thinking in developing new strategies with which society can move forward. Children aged 8 to 11 years old will be able to structure a debate around these themes by considering this short film. |
Abstract of Papa’s Boy (Lemmetty [44]) This CGI short film, co-produced in Ireland and Finland, is about masculinity and femininity. The film was originally prepared as part of a project celebrating the music of Chopin. Although knowledge of Chopin is by no means requisite to the success of the film, this information adds a layer of European context to the film’s value as a pedagogical tool. A little mouse, coded as a boy, is not living up to his father’s expectations. While his father was a famous boxer, he is interested in ballet dancing and dances around in a tutu. However, his moment to shine comes when a cat attacks his father. Through ballet, the boy escapes the clutches of the cat and save his father. The moral of the story is clear: celebrate difference and love your loved ones for who they are. Children aged 4–7 will be able to respond broadly to this film, while children aged 8 to 11 years old will be able to create a reflexive debate around the issues this raises: gender nonconformity, family, tolerance—even the ethics of the food chain between cats and mice. It is interesting to consider how gender roles might, or might not, enter the dialogue when this film is used with 12- to 15-year-olds. |
Abstract of Changeons! (Guistozzi, [45]) The relationship between the ocean and human civilization is put under a lens in this challenging panoramic depiction of a changing coastal urban environment. What begins as a harmonious pastoral depiction of human life on the seafront quickly darkens into a polluted urban sprawl of skyscrapers belching smog and oil into the water and the sky. The sustainability of city life is called into question: readers are able to contemplate, how secure is the relationship between urban development and the natural world? How can continued economic and population growth be developed in a way that promotes harmony rather than destruction over the natural world? Indeed, the issue of time is brought up by the visual narrative—how much time goes by as the world changes, how fast is too fast? The intricate panoramas of the changing urban scene do not exert their moral stance over the reader—rather, the reader must decode the patterned representation of advancing urban life to decode the moral of the story. This picture book is an excellent example of a work that depicts issues of sustainable development and climate change without patronising its reader. With this in mind, it is very suitable for 12- to 15-year-olds. |
Abstract of Baboon on the Moon (Duriez [40]) This classic stop motion film was made in the UK in the early 2000s and used by the British Film Institute as part of their starting stories resource. A simple visual narrative is embedded with a complex set of themes: a baboon, stationed on the moon, plays his trumpet mournfully as he looks at Earth from afar. The strength of this philosophical and affective film is its potential for discourse in numerous directions: the displacement of the baboon creates an opportunity to consider deforestation; the space setting provides a sense of universality to the themes of home, homelessness and nostalgia; and the placement of a baboon on the moon narrates the real-life use of animals in space travel in the twentieth century. This multifaceted way of considering home indicates a high usability in every age group: out of all the books and films in the corpus, this film is highlighted for use with 4- to 7-year-olds, 8- to 11-year-olds and 12- to 15-year-olds. |
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Educational Level | Session #3 | Session #8 |
---|---|---|
Preschool | Ant [39] | Baboon on the Moon |
Primary Education | Papa’s Boy [40] | Baboon on the Moon |
Secondary Education | Changeons!/Eccentric City [41] | Baboon on the Moon |
Teacher | Gender | Students | School Level | ISCED | Subject Matter |
---|---|---|---|---|---|
Preschool 1 | Female | 15 | Preschool-3 | 0—Early Education | No |
Preschool 2 | Female | 17 | Preschool-3 | 0—Early Education | No |
Preschool 3 | Male | 20 | Preschool-3 | 0—Early Education | No |
Primary 1 | Female | 25 | 3rd grade | 1—Primary Education | No |
Primary 2 | Male | 27 | 3rd grade | 1—Primary Education | No |
Primary 3 | Female | 26 | 3rd grade | 1—Primary Education | No |
Primary 4 | Female | 25 | 3rd grade | 1—Primary Education | No |
Secondary 1 | Female | 12 | 9th grade | 2—Lower Secondary Ed. | Civic Ed. |
Secondary 2 | Male | 15 | 9th grade | 2—Lower Secondary Ed. | Civic Ed. |
Secondary 3 | Female | 27 | 9th grade | 2—Lower Secondary Ed. | Civic Ed. |
Secondary 4 | Female | 32 | 9th grade | 2—Lower Secondary Ed. | Language |
Teachers |
T1: Encouraging students to react to their classmates’ contributions; |
T2: Prompting and following up to deepen contribution; |
T3: Active listening to maintain the interaction; |
T4: Posing open questions; |
T5: Posing semi-open questions; |
T6: Posing single-answer questions. |
Students |
S1: Directly addressing another classmate; |
S2: Indirectly referring to another classmate’s intervention; |
S3: Offering reasoning to support claim; |
S4: Elaborated utterance presenting full ideas; |
S5: Offering only minimal utterance response (i.e., only a single clause). |
Session #3 | ||||||
T1 | T2 | T3 | T4 | T5 | T6 | |
Pre-primary | 1.3 (1) | 19.0 (16) | 53.3 (24) | 9.0 (8) | 23.7 (12) | 32.3 (18) |
Primary | 2.2 (3) | 15.0 (7) | 37.2 (24) | 4.0 (1) | 9.5 (2) | 9.75 (7) |
Secondary | 2.7 (2) | 11.2 (9) | 31.5 (29) | 4.7 (4) | 16.5 (11) | 9.0 (5) |
Session #8 | ||||||
T1 | T2 | T3 | T4 | T5 | T6 | |
Preschool | 3.7 (3) | 46.7 (13) | 62.0 (15) | 8.0(3) | 18.0 (10) | 8.0 (2) |
Primary | 4.2 (3.4) | 22.5 (8) | 61.7 (13) | 6.2 (5) | 8.7 (4) | 4.2 (2) |
Secondary | 5.0 (5) | 12.0 (9) | 22.7 (25) | 3.7 (2) | 11.2 (13) | 9.0 (8) |
Session #3 | |||||
S1 | S2 | S3 | S4 | S5 | |
Preschool | 0.3 (1) | 2.3 (4) | 12.3 (7) | 22.3 (13) | 102 (23) |
Primary | 25.2 (38) | 37.5 (47) | 35.7 (19) | 11.2 (3.5) | 54.2 (28) |
Secondary | 2.7 (2) | 22.5 (14) | 17.0 (15) | 12.7 (3) | 21.2 (18.) |
S1 | S2 | S3 | S4 | S5 | |
Session #8 | |||||
Preschool | 4.3 (1) | 1.0 (1) | 30.0 (3) | 57.3 (19) | 66.0 (19) |
Primary | 4.7 (5) | 3.2 (4) | 27.7 (11) | 52.2 (23) | 37.5 (13) |
Secondary | 2.7 (3) | 24.2 (14) | 12.5 (15) | 8.2 (5) | 22.5 (21) |
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Garcia-Mila, M.; Miralda-Banda, A.; Luna, J.; Remesal, A.; Castells, N.; Gilabert, S. Change in Classroom Dialogicity to Promote Cultural Literacy across Educational Levels. Sustainability 2021, 13, 6410. https://doi.org/10.3390/su13116410
Garcia-Mila M, Miralda-Banda A, Luna J, Remesal A, Castells N, Gilabert S. Change in Classroom Dialogicity to Promote Cultural Literacy across Educational Levels. Sustainability. 2021; 13(11):6410. https://doi.org/10.3390/su13116410
Chicago/Turabian StyleGarcia-Mila, Merce, Andrea Miralda-Banda, Jose Luna, Ana Remesal, Núria Castells, and Sandra Gilabert. 2021. "Change in Classroom Dialogicity to Promote Cultural Literacy across Educational Levels" Sustainability 13, no. 11: 6410. https://doi.org/10.3390/su13116410
APA StyleGarcia-Mila, M., Miralda-Banda, A., Luna, J., Remesal, A., Castells, N., & Gilabert, S. (2021). Change in Classroom Dialogicity to Promote Cultural Literacy across Educational Levels. Sustainability, 13(11), 6410. https://doi.org/10.3390/su13116410