Artículos de revistas sobre el tema "Language arts (Early childhood) Listening Early childhood education"

This paper brings studies around the poetic dimension of language to approach the relationship between teaching in preschool education and the experience of being open and listening as an aesthesic way of coexisting in the world. The approximation of philosophy, arts and preschool education from the reunion between music and education highlights that listening refers to the sound of meaning, and not to the meaning of the sound to be interpreted. The dialog with the thinking of Jean-Luc Nancy, stating that the sensible sense/meaning arouses the intelligible sense/meaning and in a constant movement that is not completed or finalized, producing signification or information, appears as a philosophical resistance to the privilege of the theoretical record founded upon the western prevalence of the optical model. To be open and listening implies the resonance as the sound of sense, as the body's first or last depth. The music as a play between sound and noise, as a poetic production of ordering sound senses provoked by resonance – as a gesture of listening to the listening, contributes to question the education of babies and small children based on a body that can play with the worlds' sounds to experience the poetics of making noise as the musical power of playing with sounds and noises. Children's sonic appetite calls them to make noise for the esthesia of listening to the world in the plurality of coexistence. The gesture of being open and listening in the teaching of babies and small children points out to educative actions that consider the experience constituted by resonances and reverberations of meanings implied in the sound, a feeling of feeling (aisthesis), as share and sharing of voices, signs, gestures, shapes, of the felt meaning and the sensible meaning that gather ones-with-others in human coexistence.key words: music; listenin; early childhood education; jean-luc nancy.estar à escuta: música e docência na educação infantilresumoO ensaio aproxima estudos em torno da dimensão poética da linguagem para abordar a relação entre docência na educação infantil e experiência de estar à escuta como modo estésico de coexistir no mundo. A aproximação entre filosofia, artes e educação infantil, desde o encontro entre e música e educação, sublinha que a escuta é o som do sentido e não o sentido do som a ser interpretado. A interlocução com o pensamento de Jean-Luc Nancy, ao permitir afirmar que o sentido sensível suscita o sentido sensato ou inteligível e o faz num movimento constante que não se completa ou finaliza produzindo uma significação ou uma informação, emerge como resistência filosófica ao privilégio do registro teórico fundado na primazia ocidental do modelo óptico. Estar à escuta implica a ressonância como o som do sentido, como profundidade primeira ou última do corpo. A música como jogo entre som e ruído, como produção poética de ordenação de sentidos sonoros provocados pela ressonância – como gesto de escutar a escuta, contribui para interrogar a educação de bebês e crianças pequenas a partir de um corpo que pode brincar com a sonoridade do mundo para viver a poética do barulhar como potência musical de jogar com sons e ruídos. O apetite sonoro das crianças as convocam a barulhar pela estesia de escutar o mundo na pluralidade da coexistência. O gesto de estar à escuta na docência com bebês e crianças pequenas aponta para ações educativas que consideram a experiência constituinte de ressonâncias e reverberações de sentidos imbricamos no som, um sentir se sentir (aisthesis), como partição e partilha das vozes, dos signos, dos gestos, das formas, do sentido sentido e do sentido sensato que nos situam sendo-uns-com-os-outros na coexistência mundana.palavras chave: música; escuta; educação infantil; jean-luc nancy.estar a la escucha: música y docencia en la educación infantilresumenEl ensayo aproxima estudios acerca de la dimensión poética del lenguaje para abordar la relación entre docencia en la educación infantil y experiencia de estar a la escucha como modo sensible de coexistir en el mundo. La aproximación entre filosofía, artes y educación infantil, desde el encuentro entre música y educación, destaca que la escucha es el sonido del sentido y no el sentido del sonido a ser interpretado. La interlocución con el pensamiento de Jean-Luc Nancy, al permitir afirmar que el sentido sensible suscita el sentido sensato o inteligible y lo hace en un movimiento constante que no se completa o finaliza produciendo una significación o una información, emerge como resistencia filosófica al privilegio del registro teórico fundado en la primacía occidental del modelo óptico. Estar a la escucha implica la resonancia como el sonido del sentido, como profundidad primera o última del cuerpo. La música como juego entre sonido y ruido, como producción poética de ordenación de los sentidos sonoros provocados por la resonancia -como gesto de escuchar la escucha, contribuye para interrogar la educación de bebés, niños y niñas pequeñas a partir de un cuerpo que puede jugar con la sonoridad del mundo para vivir la poética del hacer ruido como potencia musical del jugar con sonidos y ruidos. El apetito sonoro de los niños y niñas las llama hacer ruidos por la sensibilidad de escuchar el mundo en la pluralidad de la coexistencia. El gesto de estar a la escucha en la docencia con bebés, niños y niñas pequeñas apunta para acciones educativas que consideran la experiencia constituyente de resonancias y reverberaciones de sentidos solapados en el sonido, un sentir sentirse (aisthesis), como participación y intercambio de voces, de signos, de gestos de las formas, del sonido sentido y del sentido sensato que nos sitúan siendo-unos-con-los-otros en la coexistencia mundana.palabras clave: música; escucha; educación infantil; jean-luc nancy.

The teaching of English in Indonesia includes four skills�listening, speaking, reading, and writing, and two language components�vocabulary and grammar. Listening is one of the four language skills that have an important role in teaching of English in our country. In the context of early childhood education�including the teaching of English in elementary school�there has been a persistent misconception about how children learn�including learning a foreign language. To ensure success in learning a foreign language, children should have a great deal of exposure to, engagement in, and support for the language they are learning. Therefore, the aims of the study are to know the response of the young learners in learning listening skill through storytelling and whether they can apply the critical listening into the other language skills�speaking, reading, and writing. The subjects in this study are students of level 3 in one of English course in Bandung Indonesia. Their ages are around 9 -12 years old. The data are gathered from activities in the classroom, observation, and interviews. This reseach provides steps of critical listening activities. The results shows 1) the activities are sucessfully help the students to sharpen their listening skill and 2) most of the students can apply the listening skills to the other skills. In the end of this study, the pedagogical implications were provided.Keywords: critical listening, young learners, Indonesian EFL context.

Concurrently with the rapid development in digital society, the demand for communication skills was clear in childhood. Early childhood education needs to pay attention to children's speech skills development. This study aims to determine the effect of cognitive style and attachment on the ability to speak in early childhood speech development. The method used is a 2 x 2 factorial comparison design which is divided into two groups namely independent and dependent fields involving 138 samples. Re- search findings about differences in the ability to speak early childhood who have independent field cognitive style and children who have field dependent cognitive style in groups of children with high attachment obtained (A2B1), obtained Q count = 9.39 and Q table (0.05; 4: 10) = 4 , 33. 4). Differences in the ability to speak early childhood who have an independent field cognitive style and children who have a field dependent cognitive style in groups of children with low attachment obtained (A2B2), ob- tained Q count = 4.39 and Q table (0.05; 4: 10) = 4 , 33. It show that early children who have independent field cognitive style have higher speech skills scores than early children who have field dependent cog- nitive style while early children who are independent field cognitive style with low attachment have lower speech skills scores than early childhood the field dependent cognitive style with low attachment. Keywords: Cognitive style and Attachment, Early Childhood, Speech Skills Reference Aulya Purnama, R., & Wahyuni, S. (2018). Kelekatan (Attachment) pada Ibu dan Ayah Dengan Kompetensi Sosial pada Remaja. Jurnal Psikologi, 13(1), 30. https://doi.org/10.24014/jp.v13i1.2762 Berk, L. E. (2007). Child Development Boston. Pearson (seventh Ed). 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Disciplinary behavior increases children's responsibility and self-control skills by encouraging mental, emotional and social growth. This behavior is also related to school readiness and future academic achievement. This study aims to look at read aloud with the media of large books in improving disciplinary behavior during early childhood. Participants were 20 children aged 5-6 years. By using qualitative methods as a classroom action research, data collection was carried out by observation, field notes, and documentation. The results of pre-cycle data showed that the discipline behavior of children increased to 42.6%. In the first cycle of intervention learning with ledger media, the percentage of children's discipline behavior increased to 67.05%, and in the second cycle, it increased again to 80.05%. Field notes found an increase in disciplinary behavior because children liked the media which was not like books in general. However, another key to successful behavior of the big book media story. Another important finding is the teacher's ability to tell stories to students or read books in a style that fascinates children. The hope of this intervention is that children can express ideas, insights, and be able to apply disciplinary behavior in their environment. Keywords: Early Discipline Behavior, Read aloud, Big Book Media References Aksoy, P. (2020). The challenging behaviors faced by the preschool teachers in their classrooms, and the strategies and discipline approaches used against these behaviors: The sample of United States. Participatory Educational Research, 7(3), 79–104. https://doi.org/10.17275/per.20.36.7.3 Anderson, K. L., Weimer, M., & Fuhs, M. W. (2020). Teacher fidelity to Conscious Discipline and children’s executive function skills. Early Childhood Research Quarterly, 51, 14–25. https://doi.org/10.1016/j.ecresq.2019.08.003 Andriana, E., Syachruroji, A., Alamsyah, T. P., & Sumirat, F. 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This article analyzes the relationship between Korean mothers’ beliefs about early childhood English education and preschoolers’ attitudes toward English learning. English experiences in the home were also projected to be significantly related to the aforementioned factors. Participants consisted of 159 mother–child pairs in South Korea. This study yielded three main results. First, correlations were found between the mothers’ education level and all three factors, while the fathers’ education and family income levels correlated only with preschoolers’ English experiences at home. Second, the subfactors of the mothers’ beliefs, the preschoolers’ home English experiences, and their attitudes toward learning English were revealed to be partly related. Third, the study showed that preschoolers’ English experiences at home mediated the relationship between the mothers’ beliefs in the importance of English education and the preschoolers’ attitudes. In effect, while the mothers’ beliefs about early childhood English education did not directly affect their children’s attitudes, indirect effects were found to be mediated by English experiences at home. Based on these results, we propose that it is necessary for parents to create a rich language environment in the home that engenders in children positive foreign language learning attitudes.

Licensed child care providers, and the early care and education settings in which they operate, are uniquely situated to influence children’s healthy eating and physical activity through practices, attitudes, and supportive physical and social environments. However, preliminary research indicates that child-, family-, and provider-level characteristics affect adherence to best practices across early care and education settings. The current article used survey data ( n = 618) to characterize differences in child care providers’ adherence to nutrition, physical activity, and mealtime best practices, based on child-, family- and provider-level characteristics, and to describe secular trends in adherence to nutrition and physical activity best practices between 2010 and 2016. Results indicate that differences exist across certain characteristics, including child race/ethnicity, family’s use of child care assistance, language spoken at home, and provider educational attainment; however, it is notable that in most cases providers serving children of minority race and children in low-income families have a higher rate of compliance with the nutrition and physical activity best practices studied. Additionally, the comparison of adherence to best practices from 2010 to 2016 suggests that, while there was an increase in mean adherence from 2010 to 2016, overall trends in adherence across child-, family- and provider-level characteristics have been consistent across time. Public health professionals should continue to advocate for opportunities for providers to learn how to best incorporate best practices within their setting (e.g., education and training opportunities) as well as for the development and adoption of systems-level changes (e.g., expansion of food assistance programs) to reduce barriers to adherence to best practices.

The knowledge of the science of human body parts for early childhood is very important so that children have the ability to recognize and support the cleanliness and health of members of the body, as well as so that they recognize their identity. In addition, introducing environmentally friendly material for early childhood teachers to enrich learning media. This study aims to improve student learning outcomes in science using environmentally friendly media. The topic raised in this search was about recognizing body parts and their benefits and treatments. This type of research is action research. Respondents involved 19 early childhood students. The results showed that there was an increase in subjects' understanding of swallowing extremities and treatment 60% in the pre-cycle phase, 80% in the first cycle and 93% in the second cycle. The findings show that the use of happy body media has a positive effect on limb recognition. 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Playing curriculum development based on early childhood learning is a major issue in international early childhood education discussions. This study aims to look at the concepts and practices of play-based curriculum in early childhood education institutions. The study uses qualitative methods with the CIPP model program evaluation on play-based curriculum. Data collection techniqueswere carriedout using participatory observation, document studies and interviews. Participants are early childhood educators, early childhood and parents. The results found that the play-based curriculum has not yet become the main note in the preparation and development of concepts and learning practices in early childhood. Play-based curriculum quality standards have not provided a solid and clear concept foundation in placing play in the center of learning models. Other findings the institution has not been able to use the DAP (Developmentally Appropriate Practice) approach fully, and has not been able to carry out the philosophy and ways for developing a curriculum based on play. However, quite a lot of research found good practices implemented in learning centers in early childhood education institutions, such as develop children's independence programs through habituation to toilet training and fantasy play. Keywords: Play Based Curriculum, Center Learning Model, Curriculum Quality Standards, Early Childhood Education Reference Alford, B. L., Rollins, K. B., Padrón, Y. N., & Waxman, H. C. (2016). Using Systematic Classroom Observation to Explore Student Engagement as a Function of Teachers’ Developmentally Appropriate Instructional Practices (DAIP) in Ethnically Diverse Pre- kindergarten Through Second-Grade Classrooms. Early Childhood Education Journal, 44(6), 623–635. https://doi.org/10.1007/s10643-015-0748-8 Ali, E., Kaitlyn M, C., Hussain, A., & Akhtar, Z. (2018). the Effects of Play-Based Learning on Early Childhood Education and Development. Journal of Evolution of Medical and Dental Sciences, 7(43), 4682–4685. https://doi.org/10.14260/jemds/2018/1044 Ashiabi, G. S. (2007). Play in the preschool classroom: Its socioemotional significance and the teacher’s role in play. Early Childhood Education Journal, 35(2), 199–207. https://doi.org/10.1007/s10643-007-0165-8 Berk, L. E., & Meyers, A. B. (2013). The role of make-believe play in the development of executive function. American Journal of Play, 6(1), 98–110. Bodrova, E., Germeroth, C., & Leong, D. J. (2013). Play and Self-Regulation: Lessons from Vygotsky. American Journal of Play, 6(1), 111–123. Retrieved from http://eric.ed.gov/?id=EJ1016167 Chien, N. C., Howes, C., Burchinal, M., Pianta, R. C., Ritchie, S., Bryant, D. M., ... Barbarin, O. A. (2010). Children’s classroom engagement and school readiness gains in prekindergarten. Child Development, 81(5), 1534–1549. https://doi.org/10.1111/j.1467-8624.2010.01490.x Cortázar, A. (2015). Long-term effects of public early childhood education on academic achievement in Chile. Early Childhood Research Quarterly, 32, 13–22. https://doi.org/10.1016/j.ecresq.2015.01.003 Danniels, E., & Pyle, A. (2018). Defining Play-based Learning. In Encyclopedia on Early Childhood Development (Play-Based, pp. 1–5). OISE University of Toronto. Ejuu, G., Apolot, J. M., & Serpell, R. (2019). Early childhood education quality indicators: Exploring the landscape of an African community perspective. Global Studies of Childhood. https://doi.org/10.1177/2043610619832898 Faas, S., Wu, S.-C., & Geiger, S. (2017). The Importance of Play in Early Childhood Education: A Critical Perspective on Current Policies and Practices in Germany and Hong Kong. Global Education Review, 4(2), 75–91. Fisher, K. R., Hirsh-Pasek, K., Newcombe, N., & Golinkoff, R. M. (2013). Taking shape: Supporting preschoolers’ acquisition of geometric knowledge through guided play. Child Development, 84(6), 1872–1878. https://doi.org/10.1111/cdev.12091 Hennessey, P. (2016). Full – Day Kindergarten Play-Based Learning : Promoting a Common Understanding. Education and Early Childhood Development, (April), 1–76. Retrieved from gov.nl.ca/edu Holt, N. L., Lee, H., Millar, C. A., & Spence, J. C. (2015). ‘Eyes on where children play’: a retrospective study of active free play. Children’s Geographies, 13(1), 73–88. https://doi.org/10.1080/14733285.2013.828449 Jay, J. A., & Knaus, M. (2018). Embedding play-based learning into junior primary (Year 1 and 2) Curriculum in WA. Australian Journal of Teacher Education, 43(1), 112–126. https://doi.org/10.14221/ajte.2018v43n1.7 Kathy, E. (2016). Play-based versus Academic Preschools. Parent Cooperative Preschool International, 1–3. Klenowski, V., & Wyatt-Smith, C. (2012). The impact of high stakes testing: The Australian story. Assessment in Education: Principles, Policy and Practice, 19(1), 65–79. https://doi.org/10.1080/0969594X.2011.592972 Martlew, J., Stephen, C., & Ellis, J. (2011). Play in the primary school classroom? The experience of teachers supporting children’s learning through a new pedagogy. Early Years, 31(1), 71– 83. https://doi.org/10.1080/09575146.2010.529425 Mcginn, A. (2017). Play-based early childhood classrooms and the effect on pre-kindergarten social and academic achievement (University of Northern Iowa). Retrieved from https://scholarworks.uni.edu/grp Miller, E., & Almon, J. (2009). Crisis in the Kindergarten. Why children need to to Play in School. In Alliance for childhood. Retrieved from www.allianceforchildhood.org. Özerem, A., & Kavaz, R. (2013). Montessori Approach in Pre-School Education and Its Effects. Tojned The Online Journal of New Horizons in Education, 3(3), 12–25. Pendidikan, K., & Kebudayaan, D. A. N. Menteri Pendidikan Dan Kebudayaan Republik Indonesia Nomor 137 Tahun 2013 Tentang Standar Nasional Pendidikan Anak Usia Dini. , (2015). Peng, Q. (2017). Study on Three Positions Framing Kindergarten Play-Based Curriculum in China: Through Analyses of the Attitudes of Teachers to Early Linguistic Education. Studies in English Language Teaching, 5(3), 543. https://doi.org/10.22158/selt.v5n3p543 Pyle, A., & Bigelow, A. (2015). Play in Kindergarten: An Interview and Observational Study in Three Canadian Classrooms. Early Childhood Education Journal, 43(5), 385–393. https://doi.org/10.1007/s10643-014-0666-1 Pyle, A., & Danniels, E. (2017). A Continuum of Play-Based Learning: The Role of the Teacher in Play-Based Pedagogy and the Fear of Hijacking Play. Early Education and Development, 28(3), 274–289. https://doi.org/10.1080/10409289.2016.1220771 Reid, A. (2009). Is this a revolution?: A critical analysis of the Rudd government’s national education agenda. Curriculum Perspectives, 29(3), 1–13. Ridgway, A., & Quinones, G. (2012). How do early childhood students conceptualize play-based curriculum? Australian Journal of Teacher Education, 37(12), 46–56. https://doi.org/10.14221/ajte.2012v37n12.8 Rogers, S., & Evans, J. (2007). Rethinking role play in the Reception class. Educational Research, 49(2), 153–167. https://doi.org/10.1080/00131880701369677 Samuelsson, I. P., & Johansson, E. (2006). Play and learning-inseparable dimensions in preschool practice. Early Child Development and Care, 176(1), 47–65. https://doi.org/10.1080/0300443042000302654 Saracho, O. N. (2010). Children’s play in the visual arts and Literature. Early Child Development and Care. Saracho, O. N. (2013). An integrated play-based curriculum for young children. In An Integrated Play-Based Curriculum for Young Children. https://doi.org/10.4324/9780203833278 Stufflebeam, D. L. (2003). The CIPP model for evaluation. 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Implementing a play-based curriculum: Fostering teacher agency in primary school. Learning, Culture and Social Interaction, 4, 19–27. https://doi.org/10.1016/j.lcsi.2014.07.003 van Oers, B., & Duijkers, D. (2013). Teaching in a play-based curriculum: Theory, practice and evidence of developmental education for young children. Journal of Curriculum Studies, 45(4), 511–534. https://doi.org/10.1080/00220272.2011.637182 Wallerstedt, C., & Pramling, N. (2012). Learning to play in a goal-directed practice. Early Years, 32(1), 5–15. https://doi.org/10.1080/09575146.2011.593028 Weisberg, D. S., Zosh, J. M., Hirsh-Pasek, K., & Golinkoff, R. M. (2013). Talking it up: Play, langauge, and the role of adult support. American Journal of Play, 6(1), 39–54. Retrieved from http://www.journalofplay.org/issues/6/1/article/3-talking-it-play-language- development-and-role-adult-support Wong, S. M., Wang, Z., & Cheng, D. (2011). A play-based curriculum: Hong Kong children’s perception of play and non-play. International Journal of Learning, 17(10), 165–180. https://doi.org/10.18848/1447-9494/cgp/v17i10/47298

Kindergarten readiness assessments are commonly used in schools nationwide. Prior work shows that the use of such assessments for class placement decisions has increased in recent years. This article uses the Early Childhood Longitudinal Study of 2011 to explore whether the use of readiness assessments for such purpose predicts differential sorting of students across classrooms by prior academic ability. Results from multilevel models as well as other sensitivity analyses suggest that the use of readiness assessments for classroom placements is predictive of slightly higher cross-class ability sorting, particularly in English/language arts. The implications for policy and practice are discussed.

STEAM-based learning is a global issue in early-childhood education practice. STEAM content becomes an integrative thematic approach as the main pillar of learning in kindergarten. This study aims to develop a conceptual and practical approach in the implementation of children's education by applying a modification from STEAM Learning to R-SLAMET. The research used a qualitative case study method with data collection through focus group discussions (FGD), involving early-childhood educator's research participants (n = 35), interviews, observation, document analysis such as videos, photos and portfolios. The study found several ideal categories through the use of narrative data analysis techniques. The findings show that educators gain an understanding of the change in learning orientation from competency indicators to play-based learning. Developing thematic play activities into continuum playing scenarios. STEAM learning content modification (Science, Technology, Engineering, Art and Math) to R-SLAMETS content (Religion, Science, Literacy, Art, Math, Engineering, Technology and Social study) in daily class activity. Children activities with R-SLAMETS content can be developed based on an integrative learning flow that empowers loose part media with local materials learning resources. Keyword: STEAM to R-SLAMETS, Early Childhood Education, Integrative Thematic Learning References Ali, E., Kaitlyn M, C., Hussain, A., & Akhtar, Z. (2018). the Effects of Play-Based Learning on Early Childhood Education and Development. Journal of Evolution of Medical and Dental Sciences, 7(43), 4682–4685. https://doi.org/10.14260/jemds/2018/1044 Ata Aktürk, A., & Demircan, O. (2017). A Review of Studies on STEM and STEAM Education in Early Childhood. Journal of Kırşehir Education Faculty, 18(2), 757–776. Azizah, W. A., Sarwi, S., & Ellianawati, E. (2020). 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From Interdisciplinary to Transdisciplinary: An Arts-Integrated Approach to STEAM Education. Art Education, 69(6), 44–49. https://doi.org/10.1080/00043125.2016.1224873 Lillard, A. S., Lerner, M. D., Hopkins, E. J., Dore, R. A., Smith, E. D., & Palmquist, C. M. (2013). The impact of pretend play on children’s development: A review of the evidence. Psychological Bulletin, 139(1), 1–34. https://doi.org/10.1037/a0029321 Maxwell, L. E., Mitchell, M. R., & Evans, G. W. (2008). Effects of Play Equipment and Loose Parts on Preschool Children’s Outdoor Play Behavior: An Observational Study and Design Intervention. Children, Youth and Environments, 18(2), 37–63. McLaughlin, T., & Cherrington, S. (2018). Creating a rich curriculum through intentional teaching. Early Childhood Folio, 22(1), 33. https://doi.org/10.18296/ecf.0050 Mengmeng, Z., Xiantong, Y., & Xinghua, W. (2019). Construction of STEAM Curriculum Model and Case Design in Kindergarten. American Journal of Educational Research, 7(7), 485–490. https://doi.org/10.12691/education-7-7-8 Milara, I. S., Pitkänen, K., Laru, J., Iwata, M., Orduña, M. C., & Riekki, J. (2020). STEAM in Oulu: Scaffolding the development of a Community of Practice for local educators around STEAM and digital fabrication. International Journal of Child-Computer Interaction, 26, 100197. https://doi.org/10.1016/j.ijcci.2020.100197 Moomaw, S. (2012). STEM Begins in the Early Years. School Science and Mathematics, 112(2), 57–58. https://doi.org/10.1111/j.1949-8594.2011.00119.x Peng, Q. (2017). Study on Three Positions Framing Kindergarten Play-Based Curriculum in China: Through Analyses of the Attitudes of Teachers to Early Linguistic Education. Studies in English Language Teaching, 5(3), 543. https://doi.org/10.22158/selt.v5n3p543 Pyle, A., & Bigelow, A. (2015). Play in Kindergarten: An Interview and Observational Study in Three Canadian Classrooms. Early Childhood Education Journal, 43(5), 385–393. https://doi.org/10.1007/s10643-014-0666-1 Pyle, A., & Danniels, E. (2017). A Continuum of Play-Based Learning: The Role of the Teacher in Play-Based Pedagogy and the Fear of Hijacking Play. Early Education and Development, 28(3), 274–289. https://doi.org/10.1080/10409289.2016.1220771 Quigley, C. F., Herro, D., & Jamil, F. M. (2017). Developing a Conceptual Model of STEAM Teaching Practices. School Science and Mathematics, 117(1–2), 1–12. https://doi.org/10.1111/ssm.12201 Ridgers, N. D., Knowles, Z. R., & Sayers, J. (2012). Encouraging play in the natural environment: A child-focused case study of Forest School. Children’s Geographies, 10(1), 49–65. https://doi.org/10.1080/14733285.2011.638176 Ridwan, A., Rahmawati, Y., & Hadinugrahaningsih, T. (2017). Steam Integration in Chemistry Learning for Developing 21st Century Skills. MIER Journail of Educational Studies, Trends & Practices, 7(2), 184–194. Rolling, J. H. (2016). Reinventing the STEAM Engine for Art + Design Education. Art Education, 69(4), 4–7. https://doi.org/10.1080/00043125.2016.1176848 Sancar-Tokmak, H. (2015). The effect of curriculum-generated play instruction on the mathematics teaching efficacies of early childhood education pre-service teachers. European Early Childhood Education Research Journal, 23(1), 5–20. https://doi.org/10.1080/1350293X.2013.788315 Sawangmek, S. (2019). Trends and Issues on STEM and STEAM Education in Early Childhood. Képzés És Gyakorlat, 17(2019/3-4), 97–106. https://doi.org/10.17165/tp.2019.3-4.8 Science, A. I. (n.d.). STEM Project-Based Learning. Spencer, R., Joshi, N., Branje, K., Lee McIsaac, J., Cawley, J., Rehman, L., FL Kirk, S., & Stone, M. (2019). Educator perceptions on the benefits and challenges of loose parts play in the outdoor environments of childcare centres. AIMS Public Health, 6(4), 461–476. https://doi.org/10.3934/publichealth.2019.4.461 Taylor, J., Bond, E., & Woods, M. (2018). A Multidisciplinary and Holistic Introduction. Varun A. (2014). Thematic Approach for Effective Communication in Early Childhood Education Thematic Approach for effective communication in ECCE. International Journal of Education and Psychological Research (IJEPR), 3(3), 49–51. https://www.researchgate.net/publication/289868193 Wang, X., Xu, W., & Guo, L. (2018). The status quo and ways of STEAM education promoting China’s future social sustainable development. Sustainability (Switzerland), 10(12). https://doi.org/10.3390/su10124417 Whitebread, D. D. (2012). The Importance of Play. Toy Industries of Europe, April, 1–55. https://doi.org/10.5455/msm.2015.27.438-441 Wong, S. M., Wang, Z., & Cheng, D. (2011). A play-based curriculum: Hong Kong children’s perception of play and non-play. International Journal of Learning, 17(10), 165–180. https://doi.org/10.18848/1447-9494/cgp/v17i10/47298 Zosh, J. M., Hopkins, E. J., Jensen, H., Liu, C., Neale, D., Hirsh-Pasek, K., Whitebread, Solis, S. 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Child or early marriage, primarily due to cultural factors, continues as a tradition and seems to be a growing phenomenon in Jordan. This research explores the lived experience of early marriage from the perspective of adolescent girls and young women. A qualitative research design and in-depth face-to-face interviews in the Arabic language were conducted with 36 female subjects, married before the age of 18 and all newlyweds, married for less than 3 years. Six major themes emerged from the interviews to describe the experience of the participants: “Feeling remorse about getting married early”; “Loss of authority and feeling powerless”; “Reasons behind early marriage”; “Feeling pressure to have the first baby”; “Early marriage and pregnancy health consequences”; and “The positive aspects of an early marriage.” The lived experience revealed in this study confirm the overall negative effect of girls entering marriage at a young age, Early marriage is a violation of human rights, and robs girls of their childhood, education, work, and other life choices, in addition to the reported adverse psychological and physical effects.

The Covid-19 pandemic had a dangerous impact on early-childhood education, lost learning in almost all aspects of child development. The house-to-house learning, with the name Moving Home Learning Program (MHLP), is an attractive offer as an emergency remote teaching solution. This study aims to describe the application of MHLP designed by early-childhood education institutions during the learning process at home. This study used a qualitative approach with data collection using interviews, observation, and documentation. The respondents involved in the interview were a kindergarten principal and four teachers. The research data were analyzed using the data content analysis. The Findings show that the MHLP has proven to be sufficiently in line with the learning needs of early childhood during the Covid-19 pandemic. Although, the application of the MHLP learning model has limitations such as the distance from the house that is far away, the number of meetings that are only once a week, the number of food and toy sellers passing by, disturbing children's concentration, and the risk of damage to goods at home. The implication of this research can be the basis for evaluating MHLP as an adaptive strategy that requires the attention of related parties, including policy makers, school principals, and teachers for the development of new, more effective online learning models. Keywords: Moving Home Learning Program (MHLP), Children Remote Teaching References:Abdollahi, E., Haworth-Brockman, M., Keynan, Y., Langley, M. J., & Oghadas, S. M. (2020). Simulating the effect of school closure during COVID-19 outbreaks in Ontario , Canada. BMC Medicine, 1–8. https://doi.org/https://doi.org/10.1186/s12916-020-01705-8 Arends, R. I., & Kilcher, A. (2010). 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Many studies have shown a link between being competent in early mathematics and achievement in school. Early math skills have the potential to be the best predictors of later performance in reading and mathematics. Movement and songs are activities that children like, making it easier for teachers to apply mathematical concepts through this method. This study aims to develop audio-visual learning media in the form of songs with a mixture of western and traditional musical idioms, accompanied by movements that represent some of the teaching of early mathematics concepts. The stages of developing the ADDIE model are the basis for launching new learning media products related to math and art, and also planting the nation's cultural arts from an early age. These instructional media products were analyzed by experts and tested for their effectiveness through experiments on five children aged 3-4 years. The qualitative data were analyzed using transcripts of field notes and observations and interpreted in a descriptive narrative. The quantitative data were analyzed using gain score statistics. The results showed that there was a significant increase in value for early mathematical understanding of the concepts of geometry, numbers and measurement through this learning medium. The results of the effectiveness test become the final basis of reference for revision and complement the shortcomings of this learning medium. Further research can be carried out to develop other mathematical concepts through motion and song learning media, and to create experiments with a wider sample. Keywords: Early Mathematical Skills, Movement and Song Idiom Traditional, Audio-visual Learning Media References An, S. A., & Tillman, D. A. (2015). Music activities as a meaningful context for teaching elementary students mathematics: a quasi-experiment time series design with random assigned control group. 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(2012). Multicultural Education through Expressive Methods in Early Childhood Education. Ludwig, M. ., Marklein, M. ., & Song, M. (2016). Arts Integration: A Promising Approach to Improving Early Learning. American Institutes for Research. Macdonald, A., & Lowrie, T. (2011). Developing measurement concepts within context : Children ’ s representations of length. 27–42. https://doi.org/10.1007/s13394-011-0002-7 Mans, M. (2002). Playing The Music- Comparing Perfomance of Children’s Song and dance in Traditional and Contemporary Namibian Education. In The Arts in Children’s Live (pp. 71–86). Kluwer Academic Publishers. Maričić, S. M., & Stamatović, J. D. (2017). The Effect of Preschool Mathematics Education in Development of Geometry Concepts in Children. 8223(9), 6175–6187. https://doi.org/10.12973/eurasia.2017.01057a Missall, K., Hojnoski, R. L., Caskie, G. I. L., & Repasky, P. (2015). Home Numeracy Environments of Preschoolers: Examining Relations Among Mathematical Activities, Parent Mathematical Beliefs, and Early Mathematical Skills. Early Education and Development, 26(3), 356–376. https://doi.org/10.1080/10409289.2015.968243 Moreno, S., Bialystok, E., Barac, R., Schellenberg, E. G., Cepeda, N. J., & Chau, T. (2011). Short-term music training enhances verbal intelligence and executive function. Psychological Science, 22(11), 1425–1433. https://doi.org/10.1177/0956797611416999 Nketia, J. H. K. (1982). Developing Contemporary Idioms out of Traditional Music. Studia Musicologica Academiae Scientiarum Hungaricae, 24, 81. https://doi.org/10.2307/902027 Nyota, S., & Mapara, J. (2008). Shona Traditional Children ’ s Games and Play : Songs as Indigenous Ways of Knowing. English, 2(4), 189–203. Östergren, R., & Träff, U. (2013). Early number knowledge and cognitive ability affect early arithmetic ability. Journal of Experimental Child Psychology, 115(3), 405–421. https://doi.org/10.1016/j.jecp.2013.03.007 Pantoja, N., Schaeffer, M. W., Rozek, C. S., Beilock, S. L., & Levine, S. C. (2020). Children’s Math Anxiety Predicts Their Math Achievement Over and Above a Key Foundational Math Skill. Journal of Cognition and Development, 00(00), 1–20. https://doi.org/10.1080/15248372.2020.1832098 Papadakis, Stamatios, Kalogiannakis, M., & Zaranis, N. (2017). Improving Mathematics Teaching in Kindergarten with Realistic Mathematical Education. Early Childhood Education Journal, 45(3), 369–378. https://doi.org/10.1007/s10643-015-0768-4 Papadakis, Stamatios, Kalogiannakis, M., & Zaranis, N. (2018). The effectiveness of computer and tablet assisted intervention in early childhood students’ understanding of numbers. An empirical study conducted in Greece. Education and Information Technologies, 23(5), 1849–1871. https://doi.org/10.1007/s10639-018-9693-7 Papadakis, Stamatis, Kalogiannakis, M., & Zaranis, N. (2016). Comparing Tablets and PCs in teaching Mathematics: An attempt to improve Mathematics Competence in Early Childhood Education. Preschool and Primary Education, 4(2), 241. https://doi.org/10.12681/ppej.8779 Paul, T. (2019). Mathematics and music : loves and fights To cite this version. PISA worldwide ranking; Indonesia’s PISA results show need to use education resources more efficiently, (2016). Phyfferoen, D. (2019). The Dagbon Hiplife Zone in Northern Ghana Contemporary Idioms of Music Making in Tamale. 1(2), 81–104. Purpura, D. J., Napoli, A. R., & King, Y. (2019). Development of Mathematical Language in Preschool and Its Role in Learning Numeracy Skills. In Cognitive Foundations for Improving Mathematical Learning (1st ed., Vol. 5). Elsevier Inc. https://doi.org/10.1016/b978-0-12-815952-1.00007-4 Ribeiro, F. S., & Santos, F. H. (2020). Persistent Effects of Musical Training on Mathematical Skills of Children With Developmental Dyscalculia. Frontiers in Psychology, 10(January), 1–15. https://doi.org/10.3389/fpsyg.2019.02888 Roa, R., & IA, C. (2020). Learning Music and Math, Together as One: Towards a Collaborative Approach for Practicing Math Skills with Music. In I. T. (eds) Nolte A., Alvarez C., Hishiyama R., Chounta IA., Rodríguez-Triana M. (Ed.), Collaboration Technologies and Social Computing. Col (Vol. 26, Issue 5, pp. 659–669). https://doi.org/https://doi.org/10.1007/978-3-030-58157-2_10 Sarama, J., & Clements, D. H. (2006a). Mathematics, Young Students, and Computers: Software, Teaching Strategies and Professional Development. The Mathematics Educato, 9(2), 112–134. Sarama, J., & Clements, D. H. (2006b). Mathematics in early childhood. International Journal of Early Childhood, 38(1). https://doi.org/10.1007/bf03165980 Sarkar, J., & Biswas, U. (2015). The role of music and the brain development of children. 4(8), 107–111. Sheridan, K. M., Banzer, D., Pradzinski, A., & Wen, X. (2020). Early Math Professional Development: Meeting the Challenge Through Online Learning. Early Childhood Education Journal, 48(2), 223–231. https://doi.org/10.1007/s10643-019-00992-y Silver, A. M., Elliott, L., & Libertus, M. E. (2021). When beliefs matter most: Examining children’s math achievement in the context of parental math anxiety. Journal of Experimental Child Psychology, 201, 104992. https://doi.org/10.1016/j.jecp.2020.104992 Sterner, G., Wolff, U., & Helenius, O. (2020). Reasoning about Representations: Effects of an Early Math Intervention. Scandinavian Journal of Educational Research, 64(5), 782–800. https://doi.org/10.1080/00313831.2019.1600579 Temple, B. A., Bentley, K., Pugalee, D. K., Blundell, N., & Pereyra, C. M. (2020). Using dance & movement to enhance spatial awareness learning. Athens Journal of Education, 7(2), 153–167. https://doi.org/10.30958/aje.7-2-2 Thippana, J., Elliott, L., Gehman, S., Libertus, K., & Libertus, M. E. (2020). Parents’ use of number talk with young children: Comparing methods, family factors, activity contexts, and relations to math skills. Early Childhood Research Quarterly, 53, 249–259. https://doi.org/10.1016/j.ecresq.2020.05.002 Tsai, Y. (2017). Taiwanese Traditional Musical Idioms Meet Western Music Composition: An Analytical and Pedagogical Approach to Solo Piano Works by Tyzen Hsiao. http://aquila.usm.edu/dissertations/1398 Upadhyaya, D. (2017). Benefits of Music and Movement in young children. Furtados School of Music. https://www.linkedin.com/pulse/benefits-music-movement-young-children-dharini-upadhyaya Vennberg, H., Norqvist, M., Bergqvist, E., Österholm, M., Granberg, C., & Sumpter, L. (2018). 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The development of language in the early childhood is the development of language that must be owned by the child as one of their basic skills, according to the stage of age and characteristics of its development. This research generally aims to improve verbal language, specifically to find out how big is the ability of spoken language through the application / use of storytelling method. This research conducted in class A TK (Kindergarten) Malahayati Neuheun for Education Year 2016/2017. The subjects of the study were 22 children, 6 male students and 16 female students. The data of this research are data of students` verbal language ability, Instrument of data collection with observation sheet and data collection technique with observation. Data analysis technique used comparative descriptive method that compares cycle I and cycle II respectively in two meetings. Based on the obtained data analysis, the learning activity used II cycles, as many as 4 meetings. In the first cycle of 1st meeting the number of presentations of 36.4% was continued with the 2nd meeting of 54.5%. While on the 2nd cycle of 68% meeting followed by the 2nd meeting to 86.4%, this enhancementhas exceeded the learning mastery. The results showed that the recurring storytelling method enable to train children's concentration in improving their language skills through listening and expressing the language in group A TK Malahayati Neuheun

Background: Test frequency, stakes associated with educational tests, and feedback from test results have been identified in the research literature as relevant factors in student achievement. Objectives: Summarize the separate and joint contribution to student achievement of these three treatments and their interactions via multivariable meta-analytic techniques using a database of English-language studies spanning a century (1910–2010), comprising 149 studies and 509 effect size estimates. Research design: Analysis employed robust variance estimation. Considered as potential moderators were hundreds of study features comprising various test designs and test administration, demographic, and source document characteristics. Subjects: Subjects were students at all levels, from early childhood to adult, mostly from the United States but also eight other countries. Results: We find a summary effect size of 0.84 for the three treatments collectively. Further analysis suggests benefits accrue to the incremental addition of combinations of testing and feedback or stakes and feedback. Moderator analysis shows higher effect sizes associated with the following study characteristics: more recent year of publication, summative (rather than formative) testing, constructed (rather than selected) item response formats, alignment of subject matter between pre- and posttests, and recognition/recall (rather than core subjects, art, or physical education). Conversely, lower effect sizes are associated with postsecondary students (rather than early childhood–upper secondary), special education population, larger study population, random assignment (rather than another sampling method), use of shadow test as outcome measure, designation of individuals (rather than groups) as units of analysis, and academic (rather than corporate or government) research.

Low academic performance in middle childhood/early adolescence has long-term negative implications. The link between early performance and later outcomes is of special concern for boys, who tend to evidence lower levels of achievement than girls by early adolescence. Scholars have demonstrated that variations by gender in quality of teacher–student relationships may partly explain this achievement gap. That is, girls tend to have higher quality teacher–student relationships (i.e., higher levels of closeness and lower levels of conflict) than boys. Centering low-income early adolescents of color, the present analyses found that girls outperformed boys in both English Language Arts (ELA; p < .001) and math (p = .009). Teacher–student closeness fully and significantly mediated the association between gender and ELA (p = .05) and partially mediated the association between gender and math achievement (effects were nonsignificant). Teacher–student conflict partially mediated associations between gender and ELA and math achievement, although effects similarly did not reach significance. Results have the capacity to inform future interventions aiming to increase the utility of education and decrease school dropout among low-income boys of color.

This study aims to develop an activity-based science learning model with an inquiry learning approach for early childhood that can be used to increase the sense of curiosity and scientific thinking in children aged 5-6 years. This research was conducted with research and development / R & D research methods. Data was collected through interviews, observations, questionnaires, pre-test and post-test for children. Data analysis using paired t-test. The results showed that children were interested and enthusiastic in the learning process by using a science-based learning model with the inquiry approach, Sig. (2-tailed) showing results of 0.000, so the value of 0.000 <0.05 was different from before and after the use of learning models. The results showed that: children can understand the material given by the teacher, the child is more confident and has the initiative to find answers to the teacher's questions about science material, the child's curiosity increases to examine the information provided by the teacher, the child's understanding of work processes and procedures from science learning with the inquiry approach getting better. It was concluded that an activity-based science learning model with an inquiry approach for children aged 5-6 years used an activity model with an inquiry learning approach based on children's interests and children's needs so that children's curiosity would emerge and continue to be optimally stimulated. Keywords: Inquiry approach, Learning model, Science Learning References Abdi, A. (2014). The Effect of Inquiry-based Learning Method on Students’ Academic Achievement in Science Course. Universal Journal of Educational Research, 2(1), 37–41. https://doi.org/10.13189/ujer.2014.020104 Anderson, R. D. (2002). Reforming science teaching: What research says about inquiry. Journal of Science Teacher Education, 13(1), 11–12. Bell, R. L., Smetana, L., & Binns, I. (2005). Simplifying inquiry instruction: Assessing the inquiry level of classroom activities. The Science Teacher, 72(7), 30–33. Borowske, K. (2005). Curiosity and Motivation-to-Learn (hal. 346–350). Bransford, J. D., Brown, A. L., & Cocking, R. R. (2000). How people learn: Brain, mind, experience, and school. Washington D.C.: National Academy Press. Buday, S. K., Stake, J. E., & Peterson, Z. D. (2012). Gender and The Choice of a Science Career: The Impact of Social Support and Possible Selves. Sex Roles. Diambil dari https://doi.org/10.1007/s11199-011-0015-4 Bustamance, S. A., White, J. L., & Grienfield, B. daryl. (2018). Approaches to learning and science education in Head Start: Examining bidirectionality. Early Childhood Science Quarterly. Caballero Garcia, P. A., & Diaz Rana, P. (2018). Inquiry-Based Learning: an Innovative Proposal for Early Childhood Education. Journal of Learning Styles, 11(22), 50–81. Cridge, B. J., & Cridhe, A. G. (2011). Evaluating How Universities Engage School Student with The Science: a Model Based on Analysis of The Literature. Australian University Review. Darmadi. (2017). Pengembangan Model dan Metode Pembelajaran dalam Dinamika Belajar Siswa. Yogyakarta: Deepublish. Doǧru, M., & Şeker, F. (2012). The effect of science activities on concept acquisition of age 5-6 children groups. Kuram ve Uygulamada Egitim Bilimleri, 12(SUPPL. 4), 3011–3024. Duran, M., & Dökme, I. (2016). The effect of the inquiry-based learning approach on student’s critical-thinking skills. Eurasia Journal of Mathematics, Science and Technology Education, 12(12), 2887–2908. https://doi.org/10.12973/eurasia.2016.02311a Falloon, G. (2019). Using simulations to teach young students science concepts: An Experiential Learning theoretical analysis. Computers & Education, 135(March), 138–159. https://doi.org/10.1016/j.compedu.2019.03.001 Gerli Silm, Tiitsaar, K., Pedaste, M., Zacharia, Z. C., & Papaevripidou, M. (2015). Teachers’ Readiness to Use Inquiry-based Learning: An Investigation of Teachers’ Sense of Efficacy and Attitudes toward Inquiry-based Learning. International Council of Association for Science Eduacation, 28(4), 315–325. Ginsburg, H. P., & Golbeck, S. (2004). Thoughts on the future of research on mathematics and science learning and education. Early Childhood Research Quarterly, 19(1), 190–200. Gross, C. M. (2012). Science concepts young children learn through water play. Dimensions of Early Childhood, 40(2), 3–11. Diambil dari http://www.proxy.its.virginia.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ehh&AN=78303868&site=ehost-live&scope=site Guo, Y., Piasta, S. B., & Bowles, R. P. (2015). Exploring Preschool Children’s Science Content Knowledge. Early Education and Development, 26(1), 125–146. https://doi.org/10.1080/10409289.2015.968240 Halim, L., Abd Rahman, N., Zamri, R., & Mohtar, L. (2018). The roles of parents in cultivating children’s interest towards science learning and careers. Kasetsart Journal of Social Sciences, 39(2), 190–196. https://doi.org/10.1016/j.kjss.2017.05.001 Jirout, J. J. (2011). Curiosity and the Development of Question Generation Skills, (1994), 27–30. Justice, L. M., & Kaderavek, J. (2004). Embedded-explicit emergent literacy I: Background and description of approach. Language, Speech, and Hearing Services in Schools, 35, 201–211. Lind, K. K. (1998). Science in Early Childhood: Developing and Acquring Fundamental Concepts and Skills. Retrieved from ERIC (ED418777), 85. Diambil dari http://files.eric.ed.gov/fulltext/ED418777.pdf Lind, K. K. (2005). Exploring science in early childhood. (4 ed.). New York: Thomson Delmar Learning. Lindholm, M. (2018). Promoting Curiosity ? Possibilities and Pitfalls in Science Education, (1), 987–1002. Lu, S., & Liu, Y. (2017). Integrating augmented reality technology to enhance children ’ s learning in marine education, 4622(November), 525–541. https://doi.org/10.1080/13504622.2014.911247 Lukas, M. (2015). Parental Involvement of Occupational Education for Their Children. International Multidicilinary Scientific Cocerence on Social Science and Arts. Maltese, A. V, & Tai, R. H. (2011). Pipeline Persistence; Examining The Association of Educational with Earn Degrees i STEM Among US Students. Science Education. Nugent, G., Barker, B., Welsch, G., Grandgenett, N., Wu, C., & Nelson, C. (2015). A Model of Factors Contributing to STEM Learning and Career Orientation. International Journal of Science Education. Pluck, G., & Johnson, H. L. (2011). Stimulating curiosity to enhance learning. Reiser, B. J. (2004). Scaffolding complex learning: The mechanisms of structuring and problematizing student work. Journal of the Learning Sciences, 13(3), 273–304. Sackes, M., Trundle, K. C., & Flevares, L. M. (2009). Using children’s literature to teach standard-based science concepts in early years. Early Childhood Education Journal, 36(5), 415–422. https://doi.org/10.1007/s10643-009-0304-5 Walin, H., & Grady, S. O. (2016). Curiosity and Its Influence on Children ’ s Memory, 872–876. Wang, F., Kinzie, M. B., McGuire, P., & Pan, E. (2010). Applying technology to inquiry-based learning in early childhood education. Early Childhood Education Journal, 37(5), 381–389. https://doi.org/10.1007/s10643-009-0364-6 Wu, S. C., & Lin, F. L. (2016). Inquiry-based mathematics curriculum design for young children-teaching experiment and reflection. Eurasia Journal of Mathematics, Science and Technology Education, 12(4), 843–860. https://doi.org/10.12973/eurasia.2016.1233a Yahya, A., & Ismail, N. (2011). Factor in Choosing Courses and Learning Problems in Influencing The Academic Achievment of Student`s Technical Courses in Three Secondary School in The State of Negei Sembilan. Journal of Technical, Vocational & Eginereing Education. Youngquist, J., & Pataray-Ching, J. (2004). Revisiting ‘“play”’: Analyzing and articulating acts of inquiry. Early Childhood Education Journal, 31(3), 171–178.

This study investigated how a representative sample of 492 Cantonese-speaking children aged 36, 48 and 60 months expressed time during naturalistic conversations with peers. Spontaneous utterances produced by dyads of children in a 30-minute role-play context were collected, transcribed and analyzed. A productive repertoire of 62 nouns, 69 adverbs and 9 aspects was identified and classified into an appropriate typology. An age-related increase in types of temporal noun and adverb and repertoire size was found. It was also discovered that three-year-olds might already possess knowledge of aspect markers even though they might not be able to produce temporal nouns about “season” and “week” before 4 or 5 years of age. Some instances of double aspectual marking and misplacing aspects were found in the expressions. Linguistic, cognitive and conversational influences presumed to shape performance are discussed together with the implications of the findings for early childhood language education.

A kindergartner’s opportunities to develop reading and language arts skills are constrained by the amount of time allocated to reading instruction. In the meantime, the student’s engagement in learning tasks may increase if the instruction has been adapted to his or her prior ability through homogeneous grouping. This study investigates whether the grouping effects on kindergartners’ reading growth depend on the amount of reading instruction time and the intensity of grouping. To answer the study’s research questions requires causal inferences about concurrent multivalued instructional treatments. The authors develop a procedure of applying the method of marginal mean weighting through stratification to multilevel educational data. Results from the Early Childhood Longitudinal Study Kindergarten cohort data set lend support to the theoretical hypothesis that when teachers allocate a substantial amount of time to reading instruction, homogeneous grouping helps kindergartners to gain more in reading. The authors find no effect of homogeneous grouping when the total amount of reading time is limited. They also find that the benefit of increasing reading instruction time becomes evident only if kindergarten teachers adapt instruction through homogeneous grouping.

Researchers compared pre/post classroom assessment scores of n = 8,326 K-12 students taught by n = 288 teacher candidates to determine if a differentiated teacher education program prepared them to support English learners’ (ELs) achievement in classrooms including native and nonnative speakers of English. Candidates in Group 1 comprised academic subject (secondary mathematics, science, and social studies) teacher candidates, who completed six teacher preparation courses with 15 key assignments that included a focus on ELs. Certification areas for Group 2 candidates include language arts instruction (elementary, early childhood, and secondary English language arts). Group 2 candidates completed from 12 to 15 courses with 41 to 50 key assignments that included a focus on ELs. Results indicate that teacher candidates in both groups helped narrow the gap between ELs and non-ELs from pretests to posttests. ELs performed no differently when taught by candidates from either group. Implications for teacher preparation are discussed.

The aim of this article is to explore democracy and agency for children with diverse backgrounds in Icelandic early childhood education and care. In the last decade, Icelandic society has become more multicultural, as reflected in the increasing number of children in preschools with a home language other than Icelandic. Hence, this article also aims to promote a discussion of how Nordic traditions can be reflected in preschool practice, especially in relation to multicultural education. The ideas, theories and methods when multicultural education is planned seek support from similar concepts, such as democracy, power relations, social justice and children’s agency. The learning stories of two boys with a cultural background other than Icelandic were documented in accordance with the New Zealand curriculum, Te Whāriki, illustrating the boys’ communication and power relations in their preschools by foregrounding their competencies. The study supports other research showing that immigrant children struggle as they participate in play and are sometimes on the verge of being marginalized in their preschool group. The findings reveal that, in the boys’ learning stories, their competence appeared clearly – they were seen to develop their participation and sometimes their agency emerged. The power relations in their groups were not in their favour; they were marginalized in the group of children. These results suggest that, in line with Nordic policy, preschool teachers might work against the marginalization of children from multicultural backgrounds by building on children’s competencies, listening to them, and relying on their ways to interact and find solutions.

The language acquired from the childhood is the language spoken in the family and in the place of living. This language is different from one pupil to another, because of their social, economical conditions. By starting the school the pupil faces first the ABC book and then in the second grade Albanian language learning through the Albanian language textbook. By learning Albanian language step by step focused on Reading, Writing, Speaking and Grammar the pupil is able to start learning the second language on the next years of schooling. So, the second language learning in Albanian schools is related to the first language learning (mother tongue), since the early years in primary school. In our schools, the second language (English, Italian) starts in the third grade of the elementary class. On the third grade isn’t taught grammar but the pupil is directed toward the correct usage of the language. The textbooks are structured in developing the pupil’s critical thinking. The textbooks are fully illustrated and with attractive and educative lessons adequate to the age of the pupils. This comparative study will reflect some important aspects of language learning in Albanian schools (focused on Albanian language - first language and English language - second language), grade 3-6. Our point of view in this paper will show not only the diversity of the themes, the lines and the sub-lines but also the level of language knowledge acquired at each level of education. First, the study will focus on some important issues in comparing Albanian and English language texts as well as those which make them different: chronology and topics retaken from one level of education to another, so by conception of linear and chronological order will be shown comparatively two learned languages (mother tongue and second language). By knowing and learning well mother tongue will be easier for the pupil the foreign language learning. The foreign language (as a learning curriculum) aims to provide students with the skills of using foreign language written and spoken to enable the literature to recognize the achievements of advanced world science and technology that are in the interest of developing our technique. Secondly, the study will be based on the extent of grammatical knowledge, their integration with 'Listening, Reading, Speaking and Writing' as well as the inclusion of language games and their role in language learning. The first and second language learning in Albanian schools (grade III-VI) is based on similar principles for the linearity and chronology of grammatical knowledge integrated with listening, reading, writing and speaking. The different structure of both books help the pupils integrate and use correctly both languages. In the end of the sixth grade, the pupils have good knowledge of mother tongue and the second language and are able to write and speak well both languages.

The language acquired from the childhood is the language spoken in the family and in the place of living. This language is different from one pupil to another, because of their social, economical conditions. By starting the school the pupil faces first the ABC book and then in the second grade Albanian language learning through the Albanian language textbook. By learning Albanian language step by step focused on Reading, Writing, Speaking and Grammar the pupil is able to start learning the second language on the next years of schooling. So, the second language learning in Albanian schools is related to the first language learning (mother tongue), since the early years in primary school. In our schools, the second language (English, Italian) starts in the third grade of the elementary class. On the third grade isn’t taught grammar but the pupil is directed toward the correct usage of the language. The textbooks are structured in developing the pupil’s critical thinking. The textbooks are fully illustrated and with attractive and educative lessons adequate to the age of the pupils. This comparative study will reflect some important aspects of language learning in Albanian schools (focused on Albanian language - first language and English language - second language), grade 3-6. Our point of view in this paper will show not only the diversity of the themes, the lines and the sub-lines but also the level of language knowledge acquired at each level of education. First, the study will focus on some important issues in comparing Albanian and English language texts as well as those which make them different: chronology and topics retaken from one level of education to another, so by conception of linear and chronological order will be shown comparatively two learned languages (mother tongue and second language). By knowing and learning well mother tongue will be easier for the pupil the foreign language learning. The foreign language (as a learning curriculum) aims to provide students with the skills of using foreign language written and spoken to enable the literature to recognize the achievements of advanced world science and technology that are in the interest of developing our technique. Secondly, the study will be based on the extent of grammatical knowledge, their integration with 'Listening, Reading, Speaking and Writing' as well as the inclusion of language games and their role in language learning. The first and second language learning in Albanian schools (grade III-VI) is based on similar principles for the linearity and chronology of grammatical knowledge integrated with listening, reading, writing and speaking. The different structure of both books help the pupils integrate and use correctly both languages. In the end of the sixth grade, the pupils have good knowledge of mother tongue and the second language and are able to write and speak well both languages.

Background:This study evaluated the effect of a “move and learn” curriculum on physical activity (PA) in 3- to 5-year-olds attending a half-day preschool program.Methods:Classrooms were randomized to receive an 8-week move and learn program or complete their usual curriculum. In intervention classes, opportunities for PA were integrated into all aspects of the preschool curriculum, including math, science, language arts, and nutrition education. Changes in PA were measured objectively using accelerometry and direct observation.Results:At the completion of the 8-week intervention, children completing the move and learn curriculum exhibited significantly higher levels of classroom moderate-to-vigorous physical activity (MVPA) than children completing their usual curriculum. Significant differences were also noted for classroom VPA over the final 2 weeks.Conclusion:The results suggest that integrating movement experiences into an existing early childhood curriculum is feasible and a potentially effective strategy for promoting PA in preschool children.

Background: The literature on the effects of teacher coaching in early childhood (EC) education programs is underdeveloped but emerging. Using the theory of action in professional development as our theoretical framework, we hypothesize that active coaching improves teaching methods and creates a more effective classroom environment for enhancing children’s learning and skills. Objectives: This study evaluates the effects of the Mississippi Building Blocks (MBB) program, an EC intervention with a strong emphasis on supervisor and coaching training. Research design: We conduct a randomized controlled experiment in which data were collected at baseline, midpoint (Month 3), and postintervention (Month 6) in 24 preschool classrooms in Mississippi. Subjects: The experiment included 195 preschoolers, of which 95 were in classrooms led by teachers who received coaching (treatment) and 100 were in classrooms without coaching (control). Measures: We measured child’s emergent language and literacy, fine motor skills, gross motor skills, print language skills, problem-solving, math skills, and socioemotional development. Results: We find that MBB coaching led to substantial improvements in child outcomes relative to the control group, particularly in gross motor skills, print language skills, and socioemotional development. We also find some evidence that MBB coaching improved math skills, though these estimates are on the margin of statistical significance. Finally, a mediator analysis indicates that improvements in the classroom learning environment brought about by MBB coaching improved child outcomes. Conclusions: Our findings suggest that an intensive form of classroom coaching for teachers leads to significant gains in child outcomes.

The Equality of Educational Opportunity Study (1966)—the Coleman Report—lodged a key takeaway in the minds of educators, researchers, and parents: Schools do not strongly shape students’ achievement outcomes. This finding has been influential to the field; however, Coleman himself suggested that—had longitudinal data been available to him—decomposing the variance in students’ growth rates rather than their levels of achievement would have provided a clearer insight into school effects. Inspired by an intriguing finding from an earlier study conducted in 1988 by Bryk and Raudenbush, we take up Coleman’s suggestion using data provided by NWEA, which has administered over 200 million vertically scaled assessments across all 50 states since 2008. We replicated Bryk and Raudenbush’s surprising finding that most of the variation in student learning rates lies between rather than within schools. For students moving from Grades 1 through 5, we found 75% (math) to 80% (English language arts) of the variance in achievement rates is at the school level. We find similar results in preliminary analyses of data from the Early Childhood Longitudinal Study-Kindergarten Class 1998-99 (ECLS-K:99). These results are intriguing because they call into question one of the dominant narratives about the extent to which schools shape students’ achievement; however, more research is needed. Our goal is to invite other scholars to conduct similar analyses in other data contexts. We delineate four key dimensions along which results need to be further probed, first and foremost with an eye toward the role of test score scaling practices, which may be of central importance.

<p>Ludvig Holberg (1684-1754) and Charlotta Dorothea Biehl (1731-1788) are two key figures of the Nordic Enlightenment. The Norwegian Holberg took his philosophical and theological degrees from the University of Copenhagen at an early age and travelled around Europe accumulating knowledge for his historical writings. Holberg made a splendid career at the University of Copenhagen both as a professor and vice-chancellor and published historical works, satires, comedies, essays, fables, and autobiographical letters. As a woman, Biehl was barred from university education and public office. Her world was confined to her childhood home, and she never had the opportunity to travel. In return, she immersed herself in studies of language and theatre, reading with great enthusiasm Holberg's writings. She became a comedy writer and a novelist, and also wrote historical works and historical letters. The paper discusses how Biehl and Holberg made performing arts and historiography inspire each other. History is in their depictions not only a royal chronology, but a vivid narrative. Holberg's and Biehl's approaches to historical study drew on different traditions: Holberg was influenced by ancient historiography while Biehl was inspired by the French chronicle; therefore, their historical writings have very different contents and designs.</p>

Language skills are essential for early childhood, being able to speak clearly and process speech sounds, understand others, express ideas, and interact with others are the building blocks for a child's development. Therefore, this study will examine the effect of the Inside Outside Circle (IOC) instructional strategies with media images on children's language skills. This research is a quasi-experimental design with a posttest only and using a control group. The sample in this study were children in two kindergartens in the village of Banjar Tegal. Data analysis in this study was carried out by quantitative descriptive methods using t-test analysis techniques. The results of this study in kindergarten students in Banjar Tegal Village show that there is an influence of the IOC learning model with picture media on children's language skills (tcount = 6.28> ttable = 2.00). This shows that language skills achieved by groups of children participating in learning with the IOC model with drawing media are better than groups of children who attend learning without the IOC model. The implication is that further research is expected to develop other aspects of child devel- opment through the IOC model. Keywords: Children Language skills, Image media, Inside-Outside Circle Instructional Strategies Reference: Afrida, Ni., & Mahriza, R. (2019). Visual and Cognitive Media : The Language Acquisition of Children With Dyslexia in Aceh. IJLRES - International Journal on Language , Research and Education Studies, 3(1), 112–126. https://doi.org/10.30575/2017/IJLRES-2019010409 Al Otaiba, S., & Fuchs, D. (2006). Who are the young children for whom best practices in reading are ineffective? An experimental and longitudinal study. Journal of Learning Disabilities, 39(5), 414–431. https://doi.org/10.1177/00222194060390050401 Asrifan, A. (2015). 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Purpose: Literacy plays an important role in the development of language in school-age children and adolescents. For example, by reading a variety of books, magazines, and newspapers, students gain exposure to complex vocabulary, and reading becomes a prime opportunity for learning new words. Despite the importance of reading for lexical development, little is known about the pleasure reading habits of today’s youth. The first goal of this investigation was to examine the preferences of older children and young adolescents with respect to reading as a leisure-time activity and its relationship to other free-time options that are likely to compete for their attention. The second goal was to examine the amount of time that young people spend reading for pleasure each day and the types of materials they most enjoy reading. The third goal was to determine if preferences for free-time activities and reading materials would evince age- and gender-related differences during the period of development from late childhood through early adolescence (ages 11–15 years). The findings could serve as a reference point for understanding what is reasonable to expect of students during this age range. Method: The participants were 100 sixth graders (mean age=11;7 [years;months]) and 100 ninth graders (mean age=14;8) attending public schools in western Oregon. Each group contained an equal number of boys and girls, all of whom spoke English as their primary language and were considered to be typical achievers. All participants completed a survey concerning their preferred free-time activities and reading materials. They also reported the average amount of time they spent reading for pleasure each day. Results: The most popular free-time activities were listening to music/going to concerts, watching television or videos, playing sports, and playing computer or video games. Least preferred activities were cooking, running or walking, writing, and arts and crafts. Reading was moderately popular. The most popular reading materials were magazines, novels, and comics; least popular were plays, technical books, and newspapers. Interest in pleasure reading declined during this age range (11–15 years), and boys were more likely than girls to report that they spentno time reading for pleasure. Clinical Implications: Given the importance of reading tolexical development in school-age children and adolescents, reading should be promoted as a leisure activity during these years. School-based speech-language pathologists (SLPs), in their role as language consultants, can benefit from understanding the pleasure-reading patterns of today’s youth. It is especially important for SLPs to monitor these patterns in students who have language disorders, as it is common for these young people to experience deficits in reading and in lexical development. Fortunately, much can be done in school settings to encourage strong literacy habits in all students if SLPs work collaboratively with teachers, principals, psychologists, librarians, parents, and students. Suggestions are offered for ways to encourage young people to spend more time reading for pleasure.

A decade ago, access to technology was limited and wiring schools was one of the nation's highest education priorities (NCREL, 2005). Ten years of substantial investments have vastly improved this picture. According to the Secretary's Fourth Annual Report on Teacher Quality, virtually every school with access to computers has Internet access (99%), compared to only 35 percent of schools in 1994, according to the National Center for Education Statistics (NCES) (Parsad & Jones, 2005). The Office of Technology Assessment report to Congress in 1995 stated that "Technology is not central to the teacher preparation experience in most colleges of education. most new teachers graduate from teacher preparation institutions with limited knowledge of the ways technology can be used in their professional practice" (Office of Technology Assessment, 1995). The report, in which this statement appeared, titled Teachers and Technology: Making the Connection, was a wake-up call, and over the past years, much remunerative progress has been made. Many states are attempting to address educators technology skills through the creation of teacher or administrator standards that include technology; as of 2003, 40 states and the District of Columbia have such standards (Ansell & Park, 2003). A number of states have adopted technology requirements for initial licensure. For example, 13 states require teachers and/or administrators to complete technology-related coursework, and nine require them to pass technology-related assessments. In addition, a number of states have implemented policies to improve veteran teachers technological skills (Ansell &Park, 2003). Addressing the issues of technology integration into the curriculum, the Maryland State Department of Educations (MSDE) PT3 consortium infused technology into the state's teacher education programs in three ways. First, the consortium used the Maryland Teacher Technology Standards to redesign both arts and sciences and education courses so they incorporate technology-related knowledge and skills. The Maryland Teacher Technology Standards included learning outcomes and, core learning goals and skills for success; it also specifies what students in pre-kindergarten through 12th grade need to know and be able to do in English/Language Arts, mathematics, science, and social studies. The Maryland State Department of Education (1999) provided expectations for how technology can and should be used to support student learning and instruction. Second, the group developed performance assessments in order to measure the technological competence of teacher candidates. Third, the consortium developed a system for electronic portfolios that incorporates a student teacher's technology performance assessment. These portfolios can be made available to future employers to demonstrate technology-related proficiency. The consortium is statewide and diverse, including several public universities and two communities. According to a report titled, Tech-Savvy: Educating Girls in the New Computer Age (AAUW, 2000), Washington, DC; as violent electronic games and dull programming classes turn off increasing numbers of adolescent girls, the way information technology is used, applied, and taught in the nations classrooms must change. Furthermore, commensurate with rapid changes in technology, a remarkably consistent picture emerges: more boys than girls experience an early, passionate attachment to computers, whereas for most girls attachment is subdued. Margolis and Fisher (2002) reported that computing is claimed as male territory very early in life: from early childhood through college, computing is both actively claimed as guy stuff by boys and men and passively ceded by girls and women. Society and culture have linked interest and success with computers to boys and men. In the words of Margolis and Fisher (2002), curriculum, teachers expectations, and culture reflect boys pathways into computing, accepting both assumptions of male excellence and womens deficiencies in the field (p. 4). Social expectations towards educational leadership in academic and economics terms depend on the integration of technology in every facet of society. The American family survival depends on the abilities and incomes of all adults. The type of technical skills needed to be creative and to survive in the job market escalates daily. Educational leaders must be aware that gender equity among middle school students with respect to the use of computer technology should be grounded in the development of programs that not only address the educational aspect of schools, but also allow students to develop their appreciation for, and understanding of the interrelationship among computer usage, careers, and values. With the implementation of such programs, schools could operate as equalizers for the sexes regarding computer competency and attitudes. Educational leaders have the ability to direct resources to show how computer technology may release the creative impulse in children and allow them to think and learn. Educators need to link the curriculum and technology with student interests. Both male and female students use computer applications that can be linked to the educational setting, such as word processing, Internet, completing homework, reports, and projects, as well as communication through email, self-expression, and personal interest. Educators who are developing these programs must understand how girls lose interest in technology and recognize the different learning styles of each gender. The role of training district school teachers to effectively utilize computer technology within the classroom is important if strides are to be made in supporting girls and women in choosing computer-related careers and using computers as a medium of expression. Institutions of higher education would provide opportunities and hold the responsibility of reviewing the technical construction of each teachers plan. Educational leaders will meet frequently with university representatives to review, discuss, record experiences, develop, modify, and evaluate plans and performances to ensure that teachers receive the training necessary to instruct all students utilizing appropriate computer technology. Degree attainment, certification, and re-certification should be linked to the variation of experiences, the structure, depth, detail, and impact of the program developed by the practitioner in consultation with representatives from higher education and the school district. Partnerships with local school districts and institutions of higher learner should be established to develop programs, which incorporate many of the tenets discussed above.

This paper set out to investigate the role of music in the acquisition of language skills in early childhood education in Tubah Municipality. In order to achieve this objective, the main objective was articulated into two components inquiring the place of songs and creative dance in enhancing the growth of macro-language skills like listening, speaking, reading and writing. This study was prompted by the absence of interesting alternative strategies in language didactics. To inquire about the problem and propose alternative methods through music, a quasi-experimental research design was adopted in the study. From the population, four schools were selected using the non-probability sampling technique that is, the convenient. These four schools constituted the accessible population. The purposive sampling technique was used in deciding which part of the accessible population constitutes the sample population which in this case was made up of nursery school children, level two primary pupils and teachers. The Krejcie and Morgan table was used to decide on how many teachers and pupils make up the sample. Four instruments were used to collect data; a structured questionnaire designed using the Likert scale, an interview guide for teachers, working memory test and participant's observation guide. Descriptive statistics (in the form of frequencies, percentages, charts and tables) and inferential statistics were used for data analyses. Specifically, the two- way ANOVA and Regression analysis tests were used to test the hypothesis at a 0.05 level of significance. The findings revealed that there is a significant relationship between the use of music and the development of language skills in pupils. That is, when music is used, the pupils acquire vocabulary by identifying objects related to the words, speak better, read better and are able to spell the words correctly. The ability of pupils to reproduce the songs they listened to and to recognize words in the song, where all of them scored above average indicate the pertinence of the song and dance didactics recommended for policy makers and teachers in this study.

Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge in saving a town considered by authorities to be “undefendable” (Kennedy) is yet to be widely appreciated. In accounting for a creative scene that survived the conflagration, this case study sees culture mobilised as a socioeconomic resource for conservation and the healing of community spirit.Northcliffe (population 850) sits on a coastal plain that hosts majestic old-growth forest and lush bushland. In 2006, Southern Forest Arts (SFA) dedicated a Southern Forest Sculpture Walk for creative professionals to develop artworks along a 1.2 km walk trail through pristine native forest. It was re-branded “Understory—Art in Nature” in 2009; then “Understory Art in Nature Trail” in 2015, the understory vegetation layer beneath the canopy being symbolic of Northcliffe’s deeply layered caché of memories, including “the awe, love, fear, and even the hatred that these trees have provoked among the settlers” (Davin in SFA Catalogue). In the words of the SFA Trailguide, “Every place (no matter how small) has ‘understories’—secrets, songs, dreams—that help us connect with the spirit of place.”In the view of forest arts ecologist Kumi Kato, “It is a sense of place that underlies the commitment to a place’s conservation by its community, broadly embracing those who identify with the place for various reasons, both geographical and conceptual” (149). In bioregional terms such communities form a terrain of consciousness (Berg and Dasmann 218), extending responsibility for conservation across cultures, time and space (Kato 150). A sustainable thematic of place must also include livelihood as the third party between culture and nature that establishes the relationship between them (Giblett 240). With these concepts in mind I gauge creative impact on forest as place, and, in turn, (altered) forest’s impact on people. My abstraction of physical place is inclusive of humankind moving in dialogic engagement with forest. A mapping of Understory’s creative activities sheds light on how artists express physical environments in situated creative practices, clusters, and networks. These, it is argued, constitute unique types of community operating within (and beyond) a foundational scene of inspiration and mystification that is metaphorically “rising from the ashes.” In transcending disconnectedness between humankind and landscape, Understory may be understood to both culturalise nature (as an aesthetic system), and naturalise culture (as an ecologically modelled system), to build on a trope introduced by Feld (199). Arguably when the bush is cultured in this way it attracts consumers who may otherwise disconnect from nature.The trail (henceforth Understory) broaches the histories of human relations with Northcliffe’s natural systems of place. Sub-groups of the Noongar nation have inhabited the southwest for an estimated 50,000 years and their association with the Northcliffe region extends back at least 6,000 years (SFA Catalogue; see also Crawford and Crawford). An indigenous sense of the spirit of forest is manifest in Understory sculpture, literature, and—for the purpose of this article—the compilation CD Canopy: Songs for the Southern Forests (henceforth Canopy, Figure 1).As a cultural and environmental construction of place, Canopy sustains the land with acts of seeing, listening to, and interpreting nature; of remembering indigenous people in the forest; and of recalling the hardships of the early settlers. I acknowledge SFA coordinator and Understory custodian Fiona Sinclair for authorising this investigation; Peter Hill for conservation conversations; Robyn Johnston for her Canopy CD sleeve notes; Della Rae Morrison for permissions; and David Pye for discussions. Figure 1. Canopy: Songs for the Southern Forests (CD, 2006). Cover image by Raku Pitt, 2002. Courtesy Southern Forest Arts, Northcliffe, WA.Forest Ecology, Emotion, and ActionEstablished in 1924, Northcliffe’s ill-founded Group Settlement Scheme resulted in frontier hardship and heartbreak, and deforestation of the southwest region for little economic return. An historic forest controversy (1992-2001) attracted media to Northcliffe when protesters attempting to disrupt logging chained themselves to tree trunks and suspended themselves from branches. The signing of the Western Australian Regional Forest Agreement in 1999 was followed, in 2001, by deregulation of the dairy industry and a sharp decline in area population.Moved by the gravity of this situation, Fiona Sinclair won her pitch to the Manjimup Council for a sound alternative industry for Northcliffe with projections of jobs: a forest where artists could work collectively and sustainably to reveal the beauty of natural dimensions. A 12-acre pocket of allocated Crown Land adjacent to the town was leased as an A-Class Reserve vested for Education and Recreation, for which SFA secured unified community ownership and grants. Conservation protocols stipulated that no biomass could be removed from the forest and that predominantly raw, natural materials were to be used (F. Sinclair and P. Hill, personal interview, 26 Sep. 2014). With forest as prescribed image (wider than the bounded chunk of earth), Sinclair invited the artists to consider the themes of spirituality, creativity, history, dichotomy, and sensory as a basis for work that was to be “fresh, intimate, and grounded in place.” Her brief encouraged artists to work with humanity and imagination to counteract residual community divisiveness and resentment. Sinclair describes this form of implicit environmentalism as an “around the back” approach that avoids lapsing into political commentary or judgement: “The trail is a love letter from those of us who live here to our visitors, to connect with grace” (F. Sinclair, telephone interview, 6 Apr. 2014). Renewing community connections to local place is essential if our lives and societies are to become more sustainable (Pedelty 128). To define Northcliffe’s new community phase, artists respected differing associations between people and forest. A structure on a karri tree by Indigenous artist Norma MacDonald presents an Aboriginal man standing tall and proud on a rock to become one with the tree and the forest: as it was for thousands of years before European settlement (MacDonald in SFA Catalogue). As Feld observes, “It is the stabilizing persistence of place as a container of experiences that contributes so powerfully to its intrinsic memorability” (201).Adhering to the philosophy that nature should not be used or abused for the sake of art, the works resonate with the biorhythms of the forest, e.g. functional seats and shelters and a cascading retainer that directs rainwater back to the resident fauna. Some sculptures function as receivers for picking up wavelengths of ancient forest. Forest Folk lurk around the understory, while mysterious stone art represents a life-shaping force of planet history. To represent the reality of bushfire, Natalie Williamson’s sculpture wraps itself around a burnt-out stump. The work plays with scale as small native sundew flowers are enlarged and a subtle beauty, easily overlooked, becomes apparent (Figure 2). The sculptor hopes that “spiders will spin their webs about it, incorporating it into the landscape” (SFA Catalogue).Figure 2. Sundew. Sculpture by Natalie Williamson, 2006. Understory Art in Nature Trail, Northcliffe, WA. Image by the author, 2014.Memory is naturally place-oriented or at least place-supported (Feld 201). Topaesthesia (sense of place) denotes movement that connects our biography with our route. This is resonant for the experience of regional character, including the tactile, olfactory, gustatory, visual, and auditory qualities of a place (Ryan 307). By walking, we are in a dialogue with the environment; both literally and figuratively, we re-situate ourselves into our story (Schine 100). For example, during a summer exploration of the trail (5 Jan. 2014), I intuited a personal attachment based on my grandfather’s small bush home being razed by fire, and his struggle to support seven children.Understory’s survival depends on vigilant controlled (cool) burns around its perimeter (Figure 3), organised by volunteer Peter Hill. These burns also hone the forest. On 27 Sept. 2014, the charred vegetation spoke a spring language of opportunity for nature to reassert itself as seedpods burst and continue the cycle; while an autumn walk (17 Mar. 2016) yielded a fresh view of forest colour, patterning, light, shade, and sound.Figure 3. Understory Art in Nature Trail. Map Created by Fiona Sinclair for Southern Forest Sculpture Walk Catalogue (2006). Courtesy Southern Forest Arts, Northcliffe, WA.Understory and the Melody of CanopyForest resilience is celebrated in five MP3 audio tours produced for visitors to dialogue with the trail in sensory contexts of music, poetry, sculptures and stories that name or interpret the setting. The trail starts in heathland and includes three creek crossings. A zone of acacias gives way to stands of the southwest signature trees karri (Eucalyptus diversicolor), jarrah (Eucalyptus marginata), and marri (Corymbia calophylla). Following a sheoak grove, a riverine environment re-enters heathland. Birds, insects, mammals, and reptiles reside around and between the sculptures, rendering the earth-embedded art a fusion of human and natural orders (concept after Relph 141). On Audio Tour 3, Songs for the Southern Forests, the musician-composers reflect on their regionally focused items, each having been birthed according to a personal musical concept (the manner in which an individual artist holds the totality of a composition in cultural context). Arguably the music in question, its composers, performers, audiences, and settings, all have a role to play in defining the processes and effects of forest arts ecology. Local musician Ann Rice billeted a cluster of musicians (mostly from Perth) at her Windy Harbour shack. The energy of the production experience was palpable as all participated in on-site forest workshops, and supported each other’s items as a musical collective (A. Rice, telephone interview, 2 Oct. 2014). Collaborating under producer Lee Buddle’s direction, they orchestrated rich timbres (tone colours) to evoke different musical atmospheres (Table 1). Composer/Performer Title of TrackInstrumentation1. Ann RiceMy Placevocals/guitars/accordion 2. David PyeCicadan Rhythmsangklung/violin/cello/woodblocks/temple blocks/clarinet/tapes 3. Mel RobinsonSheltervocal/cello/double bass 4. DjivaNgank Boodjakvocals/acoustic, electric and slide guitars/drums/percussion 5. Cathie TraversLamentaccordion/vocals/guitar/piano/violin/drums/programming 6. Brendon Humphries and Kevin SmithWhen the Wind First Blewvocals/guitars/dobro/drums/piano/percussion 7. Libby HammerThe Gladevocal/guitar/soprano sax/cello/double bass/drums 8. Pete and Dave JeavonsSanctuaryguitars/percussion/talking drum/cowbell/soprano sax 9. Tomás FordWhite Hazevocal/programming/guitar 10. David HyamsAwakening /Shaking the Tree /When the Light Comes guitar/mandolin/dobro/bodhran/rainstick/cello/accordion/flute 11. Bernard CarneyThe Destiny Waltzvocal/guitar/accordion/drums/recording of The Destiny Waltz 12. Joel BarkerSomething for Everyonevocal/guitars/percussion Table 1. Music Composed for Canopy: Songs for the Southern Forests.Source: CD sleeve and http://www.understory.com.au/art.php. Composing out of their own strengths, the musicians transformed the geographic region into a living myth. As Pedelty has observed of similar musicians, “their sounds resonate because they so profoundly reflect our living sense of place” (83-84). The remainder of this essay evidences the capacity of indigenous song, art music, electronica, folk, and jazz-blues to celebrate, historicise, or re-imagine place. Firstly, two items represent the phenomenological approach of site-specific sensitivity to acoustic, biological, and cultural presence/loss, including the materiality of forest as a living process.“Singing Up the Land”In Aboriginal Australia “there is no place that has not been imaginatively grasped through song, dance and design, no place where traditional owners cannot see the imprint of sacred creation” (Rose 18). Canopy’s part-Noongar language song thus repositions the ancient Murrum-Noongar people within their life-sustaining natural habitat and spiritual landscape.Noongar Yorga woman Della Rae Morrison of the Bibbulmun and Wilman nations co-founded The Western Australian Nuclear Free Alliance to campaign against the uranium mining industry threatening Ngank Boodjak (her country, “Mother Earth”) (D.R. Morrison, e-mail, 15 July 2014). In 2004, Morrison formed the duo Djiva (meaning seed power or life force) with Jessie Lloyd, a Murri woman of the Guugu Yimidhirr Nation from North Queensland. After discerning the fundamental qualities of the Understory site, Djiva created the song Ngank Boodjak: “This was inspired by walking the trail […] feeling the energy of the land and the beautiful trees and hearing the birds. When I find a spot that I love, I try to feel out the lay-lines, which feel like vortexes of energy coming out of the ground; it’s pretty amazing” (Morrison in SFA Canopy sleeve) Stanza 1 points to the possibilities of being more fully “in country”:Ssh!Ni dabarkarn kooliny, ngank boodja kookoorninyListen, walk slowly, beautiful Mother EarthThe inclusion of indigenous language powerfully implements an indigenous interpretation of forest: “My elders believe that when we leave this life from our physical bodies that our spirit is earthbound and is living in the rocks or the trees and if you listen carefully you might hear their voices and maybe you will get some answers to your questions” (Morrison in SFA Catalogue).Cicadan Rhythms, by composer David Pye, echoes forest as a lively “more-than-human” world. Pye took his cue from the ambient pulsing of male cicadas communicating in plenum (full assembly) by means of airborne sound. The species were sounding together in tempo with individual rhythm patterns that interlocked to create one fantastic rhythm (Australian Broadcasting Corporation, Composer David Pye). The cicada chorus (the loudest known lovesong in the insect world) is the unique summer soundmark (term coined by Truax Handbook, Website) of the southern forests. Pye chased various cicadas through Understory until he was able to notate the rhythms of some individuals in a patch of low-lying scrub.To simulate cicada clicking, the composer set pointillist patterns for Indonesian anklung (joint bamboo tubes suspended within a frame to produce notes when the frame is shaken or tapped). Using instruments made of wood to enhance the rich forest imagery, Pye created all parts using sampled instrumental sounds placed against layers of pre-recorded ambient sounds (D. Pye, telephone interview, 3 Sept. 2014). He takes the listener through a “geographical linear representation” of the trail: “I walked around it with a stopwatch and noted how long it took to get through each section of the forest, and that became the musical timing of the various parts of the work” (Pye in SFA Canopy sleeve). That Understory is a place where reciprocity between nature and culture thrives is, likewise, evident in the remaining tracks.Musicalising Forest History and EnvironmentThree tracks distinguish Canopy as an integrative site for memory. Bernard Carney’s waltz honours the Group Settlers who battled insurmountable terrain without any idea of their destiny, men who, having migrated with a promise of owning their own dairy farms, had to clear trees bare-handedly and build furniture from kerosene tins and gelignite cases. Carney illuminates the culture of Saturday night dancing in the schoolroom to popular tunes like The Destiny Waltz (performed on the Titanic in 1912). His original song fades to strains of the Victor Military Band (1914), to “pay tribute to the era where the inspiration of the song came from” (Carney in SFA Canopy sleeve). Likewise Cathie Travers’s Lament is an evocation of remote settler history that creates a “feeling of being in another location, other timezone, almost like an endless loop” (Travers in SFA Canopy sleeve).An instrumental medley by David Hyams opens with Awakening: the morning sun streaming through tall trees, and the nostalgic sound of an accordion waltz. Shaking the Tree, an Irish jig, recalls humankind’s struggle with forest and the forces of nature. A final title, When the Light Comes, defers to the saying by conservationist John Muir that “The wrongs done to trees, wrongs of every sort, are done in the darkness of ignorance and unbelief, for when the light comes the heart of the people is always right” (quoted by Hyams in SFA Canopy sleeve). Local musician Joel Barker wrote Something for Everyone to personify the old-growth karri as a king with a crown, with “wisdom in his bones.”Kevin Smith’s father was born in Northcliffe in 1924. He and Brendon Humphries fantasise the untouchability of a maiden (pre-human) moment in a forest in their song, When the Wind First Blew. In Libby Hammer’s The Glade (a lover’s lament), instrumental timbres project their own affective languages. The jazz singer intended the accompanying double bass to speak resonantly of old-growth forest; the cello to express suppleness and renewal; a soprano saxophone to impersonate a bird; and the drums to imitate the insect community’s polyrhythmic undercurrent (after Hammer in SFA Canopy sleeve).A hybrid aural environment of synthetic and natural forest sounds contrasts collision with harmony in Sanctuary. The Jeavons Brothers sampled rustling wind on nearby Mt Chudalup to absorb into the track’s opening, and crafted a snare groove for the quirky eco-jazz/trip-hop by banging logs together, and banging rocks against logs. This imaginative use of percussive found objects enhanced their portrayal of forest as “a living, breathing entity.”In dealing with recent history in My Place, Ann Rice cameos a happy childhood growing up on a southwest farm, “damming creeks, climbing trees, breaking bones and skinning knees.” The rich string harmonies of Mel Robinson’s Shelter sculpt the shifting environment of a brewing storm, while White Haze by Tomás Ford describes a smoky controlled burn as “a kind of metaphor for the beautiful mystical healing nature of Northcliffe”: Someone’s burning off the scrubSomeone’s making sure it’s safeSomeone’s whiting out the fearSomeone’s letting me breathe clearAs Sinclair illuminates in a post-fire interview with Sharon Kennedy (Website):When your map, your personal map of life involves a place, and then you think that that place might be gone…” Fiona doesn't finish the sentence. “We all had to face the fact that our little place might disappear." Ultimately, only one house was lost. Pasture and fences, sheds and forest are gone. Yet, says Fiona, “We still have our town. As part of SFA’s ongoing commission, forest rhythm workshops explore different sound properties of potential materials for installing sound sculptures mimicking the surrounding flora and fauna. In 2015, SFA mounted After the Burn (a touring photographic exhibition) and Out of the Ashes (paintings and woodwork featuring ash, charcoal, and resin) (SFA, After the Burn 116). The forthcoming community project Rising From the Ashes will commemorate the fire and allow residents to connect and create as they heal and move forward—ten years on from the foundation of Understory.ConclusionThe Understory Art in Nature Trail stimulates curiosity. It clearly illustrates links between place-based social, economic and material conditions and creative practices and products within a forest that has both given shelter and “done people in.” The trail is an experimental field, a transformative locus in which dedicated physical space frees artists to culturalise forest through varied aesthetic modalities. Conversely, forest possesses agency for naturalising art as a symbol of place. Djiva’s song Ngank Boodjak “sings up the land” to revitalise the timelessness of prior occupation, while David Pye’s Cicadan Rhythms foregrounds the seasonal cycle of entomological music.In drawing out the richness and significance of place, the ecologically inspired album Canopy suggests that the community identity of a forested place may be informed by cultural, economic, geographical, and historical factors as well as endemic flora and fauna. Finally, the musical representation of place is not contingent upon blatant forms of environmentalism. The portrayals of Northcliffe respectfully associate Western Australian people and forests, yet as a place, the town has become an enduring icon for the plight of the Universal Old-growth Forest in all its natural glory, diverse human uses, and (real or perceived) abuses.ReferencesAustralian Broadcasting Commission. “Canopy: Songs for the Southern Forests.” Into the Music. Prod. Robyn Johnston. Radio National, 5 May 2007. 12 Aug. 2014 <http://www.abc.net.au/radionational/programs/intothemusic/canopy-songs-for-the-southern-forests/3396338>.———. “Composer David Pye.” Interview with Andrew Ford. The Music Show, Radio National, 12 Sep. 2009. 30 Jan. 2015 <http://canadapodcasts.ca/podcasts/MusicShowThe/1225021>.Berg, Peter, and Raymond Dasmann. “Reinhabiting California.” Reinhabiting a Separate Country: A Bioregional Anthology of Northern California. Ed. Peter Berg. San Francisco: Planet Drum, 1978. 217-20.Crawford, Patricia, and Ian Crawford. Contested Country: A History of the Northcliffe Area, Western Australia. Perth: UWA P, 2003.Feld, Steven. 2001. “Lift-Up-Over Sounding.” The Book of Music and Nature: An Anthology of Sounds, Words, Thoughts. Ed. David Rothenberg and Marta Ulvaeus. Middletown, CT: Wesleyan UP, 2001. 193-206.Giblett, Rod. People and Places of Nature and Culture. Bristol: Intellect, 2011.Kato, Kumi. “Addressing Global Responsibility for Conservation through Cross-Cultural Collaboration: Kodama Forest, a Forest of Tree Spirits.” The Environmentalist 28.2 (2008): 148-54. 15 Apr. 2014 <http://link.springer.com/article/10.1007/s10669-007-9051-6#page-1>.Kennedy, Sharon. “Local Knowledge Builds Vital Support Networks in Emergencies.” ABC South West WA, 10 Mar. 2015. 26 Mar. 2015 <http://www.abc.net.au/local/stories/2015/03/09/4193981.htm?site=southwestwa>.Morrison, Della Rae. E-mail. 15 July 2014.Pedelty, Mark. Ecomusicology: Rock, Folk, and the Environment. Philadelphia, PA: Temple UP, 2012.Pye, David. Telephone interview. 3 Sep. 2014.Relph, Edward. Place and Placelessness. London: Pion, 1976.Rice, Ann. Telephone interview. 2 Oct. 2014.Rose, Deborah Bird. Nourishing Terrains: Australian Aboriginal Views of Landscape and Wilderness. Australian Heritage Commission, 1996.Ryan, John C. Green Sense: The Aesthetics of Plants, Place and Language. Oxford: Trueheart Academic, 2012.Schine, Jennifer. “Movement, Memory and the Senses in Soundscape Studies.” Canadian Acoustics: Journal of the Canadian Acoustical Association 38.3 (2010): 100-01. 12 Apr. 2016 <http://jcaa.caa-aca.ca/index.php/jcaa/article/view/2264>.Sinclair, Fiona. Telephone interview. 6 Apr. 2014.Sinclair, Fiona, and Peter Hill. Personal Interview. 26 Sep. 2014.Southern Forest Arts. Canopy: Songs for the Southern Forests. CD coordinated by Fiona Sinclair. Recorded and produced by Lee Buddle. Sleeve notes by Robyn Johnston. West Perth: Sound Mine Studios, 2006.———. Southern Forest Sculpture Walk Catalogue. Northcliffe, WA, 2006. Unpaginated booklet.———. Understory—Art in Nature. 2009. 12 Apr. 2016 <http://www.understory.com.au/>.———. Trailguide. Understory. Presented by Southern Forest Arts, n.d.———. After the Burn: Stories, Poems and Photos Shared by the Local Community in Response to the 2015 Northcliffe and Windy Harbour Bushfire. 2nd ed. Ed. Fiona Sinclair. Northcliffe, WA., 2016.Truax, Barry, ed. Handbook for Acoustic Ecology. 2nd ed. Cambridge Street Publishing, 1999. 10 Apr. 2016 <http://www.sfu.ca/sonic-studio/handbook/Soundmark.html>.

Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152. Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snapshots” indicates fifteen kaleidoscopic patterns of different moods of life in about fifteen words each. It seems to be a rumination on the variegated images of everyday experiences ranging from individual concerns to spiritual values. Art-wise, they can be called mini-micro-poems as is the last poem of the book. While the character limit in a micro poem is generally 140 (the character limit on Twitter) Susheel has used just around 65 in each of these poems. Naturally, imagery, symbolism and cinematic technique play a great role in this case. In “The End of the Road” the poet depicts his individual experiences particularly changing scenario of the world. He seems to be worried about his eyesight getting weak with the passage of time, simultaneously he contrasts the weakness of his eyesight with the hypocrisy permeating the human life. He compares his diminishing eyesight to Milton and shows his fear as if he will get blind. He changes his spectacles six times to clear his vision and see the plurality of a reality in human life. It is an irony on the changing aspects of human life causing miseries to the humanity. At the end of the poem, the poet admits the huge changes based on the sham principles: “The world has lost its original colour” (4). The concluding lines of the poem make a mockery of the people who are not able to recognise reality in the right perspective. The poem “Durga Puja in 2013” deals with the celebration of the festival “Durga Puja” popular in the Hindu religion. The poet’s urge to be with Ma Durga shows his dedication towards the Goddess Durga, whom he addresses with different names like ‘Mai’, ‘Ma’ and ‘Mother’. He worships her power and expresses deep reverence for annihilating the evil-spirits. The festival Durga Puja also reminds people of victory of the goddess on the elusive demons in the battlefield. “Chasing a Dream on the Ganges” is another poem having spiritual overtones. Similarly, the poem “Akshya Tritya” has religious and spiritual connotations. It reflects curiosity of people for celebration of “Akshya Tritya” with enthusiasm. But the political and economic overtones cannot be ignored as the poem ends with the remarkable comments: The GDP may go up on this day; Even, Budia is able to Eat to his fill; Panditji can blow his Conch shell with full might. Outside, somebody is asking for votes; Somebody is urging others to vote. I shall vote for Akshya Tritya. (65-66) “On Reading Langston Hughes’ ‘Theme for English B’” is a long poem in the collection. In this poem, the poet reveals a learner’s craving for learning, perhaps who comes from an extremely poor background to pursue his dreams of higher education. The poet considers the learner’s plights of early childhood, school education and evolutionary spirit. He associates it with Dronacharya and Eklavya to describe the mythical system of education. He does not want to be burdened with the self-guilt by denying the student to be his ‘guru’ therefore, he accepts the challenge to change his life. Finally, he shows his sympathy towards the learner and decides to be the ‘guru’: “It is better to face/A challenge and change/Than to be burden with a life/Of self-guilt. /I put my signatures on his form willy-nilly” (11). The poem “The Destitute” is an ironical presentation of the modern ways of living seeking pleasure in the exotic locations all over the world. It portrays the life of a person who has to leave his motherland for earning his livelihood, and has to face an irreparable loss affecting moral virtues, lifestyle, health and sometimes resulting in deaths. The poem “The Black Experience” deals with the suppression of the Africans by the white people. The poem “Me, A Black Doxy”, perhaps points out the dilemma of a black woman whether she should prostitute herself or not, to earn her livelihood. Perhaps, her deep consciousness about her self-esteem does not allow her to indulge in it but she thinks that she is not alone in objectifying herself for money in the street. Her voice resonates repeatedly with the guilt of her indulgence on the filthy streets: At the dining time Me not alone? In the crowded street Me not alone? They ’ave white, grey, pink hair Me ’ave black hair – me not alone There’s a crowd with black hair. Me ’ave no black money Me not alone? (14) The poem “Thus Spake a Woman” is structured in five sections having expressions of the different aspects of a woman’s love designs. It depicts a woman’s dreams and her attraction towards her lover. The auditory images like “strings of a violin”, “music of the violin” and “clinch in my fist” multiply intensity of her feelings. With development of the poem, her dreams seem to be shattered and sadness know the doors of her dreamland. Finally, she is confronted with sadness and is taken back to the past memories reminding her of the difficult situations she had faced. Replete with poetic irony, “Bubli Poems” presents the journey of a female, who, from the formative years of her life to womanhood, experienced gender stereotypes, biased sociocultural practices, and ephemeral happiness on the faces of other girls around her. The poem showcases the transformation of a village girl into a New Woman, who dreams her existence in all types of luxurious belongings rather than identifying her independent existence and finding out her own ways of living. Her dreams lead her to social mobility through education, friendships, and the freedom that she gains from her parents, family, society and culture. She attempts her luck in the different walks of human life, particularly singing and dancing and imagines her social status and wide popularity similar to those of the famous Indian actresses viz. Katrina and Madhuri Dixit: “One day Bubli was standing before the mirror/Putting on a jeans and jacket and shaking her hips/She was trying to be a local Katrina” (41). She readily bears the freakish behaviour of the rustic/uncultured lads, derogatory comments, and physical assaults in order to fulfil her expectations and achieves her individual freedom. Having enjoyed all the worldly happiness and fashionable life, ultimately, she is confronted with the evils designs around her which make her worried, as if she is ignorant of the world replete with the evils and agonies: “Bubli was ignorant of her agony and the lost calm” (42). The examples of direct poetic irony and ironic expressions of the socio-cultural evils, and the different governing bodies globally, are explicit in this poem: “Bubli is a leader/What though if a cheerleader./The news makes her family happy.”(40), “Others were blaming the Vice-Chancellor/ Some others the system;/ Some the freedom given to girls;”(45), and “Some blame poverty; some the IMF;/ Some the UN; some the environment;/ Some the arms race; some the crony’s lust;/ Some the US’s craving for power;/Some the UK’s greed. (46-47). Finally, Bubli finds that her imaginative world is fragile. She gives up her corporeal dreams which have taken the peace of her mind away. She yearns for shelter in the temples and churches and surrenders herself before deities praying for her liberation: “Jai Kali,/ Jai Mahakali, Jai Ma, Jai Jagaddhatri,/ Save me, save the world.” (47). In the poem “The Unlucky”, the poet jibes at those who are lethargic in reading. He identifies four kinds of readers and places himself in the fourth category by rating himself a ‘poor’ reader. The first three categories remind the readers of William Shakespeare’s statement “Some are born great, some achieve greatness, and some have greatness thrust upon them.” At the end of the poem, the poet questions himself for being a poet and teacher. The question itself reflects on his ironic presentation of himself as a poor reader because a poet’s wisdom is compared with that of the philosopher and everybody worships and bows before a teacher, a “guru”, in the Indian tradition. The poet is considered the embodiment of both. The poet’s unfulfilled wish to have been born in Prayagraj is indexed with compunction when the poem ends with the question “Why was I not born in Prayagraj?” (52). Ending with a question mark, the last line of the poem expresses his desire for perfection. The next poem, “Saying Goodbye”, is elegiac in tone and has an allusion to Thomas Gray’s “The Elegy Written in a Country Churchyard” in the line “When the curfew tolls the knell of the parting day”; it ends with a question mark. The poem seems to be a depiction of the essence and immortality of ‘time’. Reflecting on the poet’s consideration of the power and beauty of ‘time’, Pradeep Kumar Patra rightly points out, “It is such a phenomena that nobody can turn away from it. The moment is both beautiful as well as ferocious. It beautifies and showcases everything and at the same time pulls everything down when necessary” (146). Apparently, the poem “The Kerala Flood 2018”is an expression of emotions at the disaster caused by the flood in 2018. By reminding of Gandhi’s tenets to be followed by people for the sake of morality and humankind, the poet makes an implicit criticism of the pretentions, and violation of pledges made by people to care of other beings, particularly, cow that is worshiped as “mother” and is considered to be a symbol of fertility, peace and holiness in Hinduism as well as the Buddhist culture. The poet also denigrates people who deliberately ignore the sanctity of the human life in Hinduism and slaughter the animal cow to satisfy their appetites. In the poem, the carnivorous are criticized explicitly, but those who pretend to be herbivorous are decried as shams: If a cow is sacrosanct And people eat beef One has to take a side. Some of the friends chose to Side with cow and others With the beef-eaters. Some were more human They chose both. (55) The poet infuses positivity into the minds of the Indian people. Perhaps, he thinks that, for Indians, poverty, ignorance, dirt and mud are not taboos as if they are habitual to forbear evils by their instincts. They readily accept them and live their lives happily with pride considering their deity as the preserver of their lives. The poem “A Family by the Road” is an example of such beliefs, in which the poet lavishes most of his poetic depiction on the significance of the Lord Shiva, the preserver of people in Hinduism: Let me enjoy my freedom. I am proud of my poverty. I am proud of my ignorance. I am proud of my dirt. I have a home because of these. I am proud of my home. My future is writ on the walls Of your houses My family shall stay in the mud. After all, somebody is needed To clean the dirt as well. I am Shiva, Shivoham. (73) In the poem “Kabir’s Chadar”, the poet invokes several virtues to back up his faith in spirituality and simplicity. He draws a line of merit and virtue between Kabir’s Chadar which is ‘white’ and his own which is “thickly woven” and “Patterned with various beautiful designs/ In dark but shining colours” (50). The poet expresses his views on Kabir’s ‘white’ Chadar symbolically to inculcate the sense of purity, fortitude, spirituality, and righteousness among people. The purpose of his direct comparison between them is to refute artificiality, guilt and evil intents of humanity, and propagate spiritual purity, the stark simplicities of our old way of life, and follow the patience of a saint like Kabir. The poem “Distancing” is a statement of poetic irony on the city having two different names known as Bombay and Mumbai. The poet sneers at its existence in Atlas. Although the poet portraits the historical events jeering at the distancing between the two cities as if they are really different, yet the poet’s prophetic anticipation about the spread of the COVID-19 in India cannot be denied prima facie. The poet’s overwhelming opinions on the overcrowded city of Bombay warn humankind to rescue their lives. Even though the poem seems to have individual expressions of the poet, leaves a message of distancing to be understood by the people for their safety against the uneven things. The poem “Crowded Locals” seems to be a sequel to the poem “Distancing”. Although the poet’s purpose, and appeal to the commonplace for distancing cannot be affirmed by the readers yet his remarks on the overcrowded cities like in Mumbai (“Crowded Locals”), foresee some risk to the humankind. In the poem “Crowded Locals”, he details the mobility of people from one place to another, having dreams in their eyes and puzzles in their minds for their livelihood while feeling insecure especially, pickpockets, thieves and strangers. The poet also makes sneering comments on the body odour of people travelling in first class. However, these two poems have become a novel contribution for social distancing to fight against the COVID-19. In the poem “Buy Books, Not Diamonds” the poet makes an ironical interpretation of social anarchy, political upheaval, and threat of violence. In this poem, the poet vies attention of the readers towards the socio-cultural anarchy, especially, anarchy falls on the academic institutions in the western countries where capitalism, aristocracy, dictatorship have armed children not with books which inculcate human values but with rifles which create fear and cause violence resulting in deaths. The poet’s perplexed opinions find manifestation in such a way as if books have been replaced with diamonds and guns, therefore, human values are on the verge of collapse: “Nine radiant diamonds are no match/ To the redness of the queen of spades. . . . / … holding/ Rifles is a better option than/ Hawking groundnuts on the streets?” (67).The poet also decries the spread of austere religious practices and jihadist movement like Boko Haram, powerful personalities, regulatory bodies and religious persons: “Boko Haram has come/Obama has also come/The UN has come/Even John has come with/Various kinds of ointments” (67). The poem “Lost Childhood” seems to be a memoir in which the poet compares the early life of an orphan with the child who enjoys early years of their lives under the safety of their parents. Similarly, the theme of the poem “Hands” deals with the poet’s past experiences of the lifestyle and its comparison to the present generation. The poet’s deep reverence for his parents reveals his clear understanding of the ways of living and human values. He seems to be very grateful to his father as if he wants to make his life peaceful by reading the lines of his palms: “I need to read the lines in his palm” (70). In the poem “A Gush of Wind”, the poet deliberates on the role of Nature in our lives. The poem is divided into three sections, perhaps developing in three different forms of the wind viz. air, storm, and breeze respectively. It is structured around the significance of the Nature. In the first section, the poet lays emphasis on the air we breathe and keep ourselves fresh as if it is a panacea. The poet criticizes artificial and material things like AC. In the second section, he depicts the stormy nature of the wind scattering papers, making the bed sheets dusty affecting or breaking the different types of fragile and luxurious objects like Italian carpets and lamp shades with its strong blow entering the oriels and window panes of the houses. Apparently, the poem may be an individual expression, but it seems to be a caricature on the majesty of the rich people who ignore the use of eco-chic objects and disobey the Nature’s behest. In the third and the last section of the poem, the poet’s tone is critical towards Whitman, Pushkin and Ginsberg for their pseudoscientific philosophy of adherence to the Nature. Finally, he opens himself to enjoy the wind fearlessly. The poems like “A Voice” , “The New Year Dawn”, “The New Age”, “The World in Words in 2015”, “A Pond Nearby”, “Wearing the Scarlet Letter ‘A’”, “A Mock Drill”, “Strutting Around”, “Sahibs, Snobs, Sinners”, “Endless Wait”, “The Soul with a New Hat”, “Renewed Hope”, “Like Father, Unlike Son”, “Hands”, “Rechristening the City”, “Coffee”, “The Unborn Poem”, “The Fountain Square”, “Ram Setu”, and “Connaught Place” touch upon the different themes. These poems reveal poet’s creativity and unique features of his poetic arts and crafts. The last poem of the collection “Stories from the Mahabharata” is written in twenty-five stanzas consisting of three lines each. Each stanza either describes a scene or narrates a story from the Mahabharata, the source of the poem. Every stanza has an independent action verb to describe the actions of different characters drawn from the Mahabharata. Thus, each stanza is a complete miniscule poem in itself which seems to be a remarkable characteristic of the poem. It is an exquisite example of ‘Micro-poetry’ on paper, remarkable for its brevity, dexterity and intensity. The poet’s conscious and brilliant reframing of the stories in his poem sets an example of a new type of ‘Found Poetry’ for his readers. Although the poet’s use of various types images—natural, comic, tragic, childhood, horticultural, retains the attention of readers yet the abundant evidences of anaphora reflect redundancy and affect the readers’ concentration and diminishes their mental perception, for examples, pronouns ‘her’ and ‘we’ in a very small poem “Lost Childhood”, articles ‘the’ and ‘all’ in “Crowded Locals”, the phrase ‘I am proud of’ in “A Family by the Road” occur many times. Svitlana Buchatska’s concise but evaluative views in her Afterword to Unwinding Self help the readers to catch hold of the poet’s depiction of his emotions. She writes, “Being a keen observer of life he vividly depicts people’s life, traditions and emotions involving us into their rich spiritual world. His poems are the reflection on the Master’s world of values, love to his family, friends, students and what is more, to his beloved India. Thus, the author reveals all his beliefs, attitudes, myths and allusions which are the patterns used by the Indian poets” (150). W. H. Auden defines poetry as “the clear expression of mixed feelings.” It seems so true of Susheel Sharma’s Unwinding Self. It is a mixture of poems that touch upon the different aspects of human life. It can be averred that the collection consists of the poet’s seamless efforts to delve into the various domains of the human life and spot for the different places as well. It is a poetic revue in verse in which the poet instils energy, confidence, power and enthusiasm into minds of Indian people and touches upon all aspects of their lives. The poverty, ignorance, dirt, mud, daily struggle against liars, thieves, pickpockets, touts, politician and darkness have been depicted not as weaknesses of people in Indian culture but their strengths, because they have courage to overcome darkness and see the advent of a new era. The poems teach people morality, guide them to relive their pains and lead them to their salvation. Patricia Prime’s opinion is remarkable: “Sharma writes about his family, men and women, childhood, identity, roots and rootlessness, memory and loss, dreams and interactions with nature and place. His poised, articulate poems are remarkable for their wit, conversational tone and insight” (138). Through the poems in the collection, the poet dovetails the niceties of the Indian culture, and communicates its beauty and uniqueness meticulously. The language of the poem is lucid, elevated and eloquent. The poet’s use of diction seems to be very simple and colloquial like that of an inspiring teacher. On the whole the book is more than just a collection of poems as it teaches the readers a lot about the world around them through a detailed Glossary appended soon after the poems in the collection. It provides supplementary information about the terms used abundantly in Indian scriptures, myths, and other religious and academic writings. The Glossary, therefore, plays pivotal role in unfolding the layers of meaning and reaching the hearts of the global readers. The “Afterwords” appended at the end, enhances readability of poems and displays worldwide acceptability, intelligibility, and popularity of the poet. The Afterwords are a good example of authentic Formalistic criticism and New Criticism. They indirectly teach a formative reader and critic the importance of forming one’s opinion, direct reading and writing without any crutches of the critics.

She leant lazily across the picnic hamper and reached for my hearing aid in my open-palmed hand. I jerked away from her, batting her hand away from mine. The glare of the summer sun blinded me. I struck empty air. Her tendril-fingers seized the beige seashell curve of my hearing aid and she lifted the cargo of sound towards her eyes. She peered at the empty battery-cage before flicking it open and shut as if it was a cigarette lighter, as if she could spark hearing-life into this trick of plastic and metal that held no meaning outside of my ear. I stared at her. A band of horror tightened around my throat, strangling my shout: ‘Don’t do that!’ I clenched my fist around the new battery that I had been about to insert into my hearing aid and imagined it speeding like a bullet towards her heart. This dream arrived as I researched my anthology of memoir-style essays on deafness, The Art of Being. I had already been reflecting and writing for several years about my relationship with my deaf-self and the impact of my deafness on my life, but I remained uneasy about writing about my deaf-life. I’ve lived all my adult life entirely in the hearing world, and so recasting myself as a deaf woman with something pressing to say about deaf people’s lives felt disturbing. The urgency to tell my story and my anxiety to contest certain assumptions about deafness were real, but I was hampered by diffidence. The dream felt potent, as if my deaf-self was asserting itself, challenging my hearing persona. I was the sole deaf child in a family of five muddling along in a weatherboard war commission house at The Grange in Brisbane during the nineteen fifties and nineteen sixties. My father’s resume included being in the army during World War Two, an official for the boxing events at the 1956 Melbourne Olympic Games and a bookie with a gift for telling stories. My mother had spent her childhood on a cherry orchard in Young, worked as a nurse in war-time Sydney and married my father in Townsville after a whirlwind romance on Magnetic Island before setting up home in Brisbane. My older sister wore her dark hair in thick Annie-Oakley style plaits and my brother took me on a hike along the Kedron Brook one summer morning before lunchtime. My parents did not know of any deaf relatives in their families, and my sister and brother did not have any friends with deaf siblings. There was just me, the little deaf girl. Most children are curious about where they come from. Such curiosity marks their first foray into sexual development and sense of identity. I don’t remember expressing such curiosity. Instead, I was diverted by my mother’s story of her discovery that I was deaf. The way my mother tells the story, it is as if I had two births with the date of the diagnosis of my deafness marking my real arrival, over-riding the false start of my physical birth three years earlier. Once my mother realized that I was deaf, she was able to get on with it, the ‘it’ being to defy the inevitability of a constrained life for her deaf child. My mother came out swinging; by hook or by crook, her deaf daughter was going to learn to speak and to be educated and to take her place in the hearing world and to live a normal life and that was that. She found out about the Commonwealth Acoustics Laboratory (now known as Australian Hearing Services) where, after I completed a battery of auditory tests, I was fitted with a hearing aid. This was a small metal box, to be worn in a harness around my body, with a long looping plastic cord connected to a beige ear-mould. An instrument for piercing silence, it absorbed and conveyed sounds, with those sounds eventually separating themselves out into patterns of words and finally into strings of sentences. Without my hearing aid, if I am concentrating, and if the sounds are made loudly, I am aware of the sounds at the deeper end of the scale. Sometimes, it’s not so much that I can hear them; it’s more that I know that those sounds are happening. My aural memory of the deep-register sounds helps me to “hear” them, much like the recollection of any tune replays itself in your imagination. With and without my hearing aids, if I am not watching the source of those sounds – for example, if the sounds are taking place in another room or even just behind me – I am not immediately able to distinguish whether the sounds are conversational or musical or happy or angry. I can only discriminate once I’ve established the rhythm of the sounds; if the rhythm is at a tearing, jagged pace with an exaggerated rise and fall in the volume, I might reasonably assume that angry words are being had. I cannot hear high-pitched sounds at all, with and without my hearing aids: I cannot hear sibilants, the “cees” and “esses” and “zeds”. I cannot hear those sounds which bounce or puff off from your lips, such as the letters “b” and “p”; I cannot hear that sound which trampolines from the press of your tongue against the back of your front teeth, the letter “t”. With a hearing-aid I can hear and discriminate among the braying, hee-hawing, lilting, oohing and twanging sounds of the vowels ... but only if I am concentrating, and if I am watching the source of the sounds. Without my hearing aid, I might also hear sharp and sudden sounds like the clap of hands or crash of plates, depending on the volume of the noise. But I cannot hear the ring of the telephone, or the chime of the door bell, or the urgent siren of an ambulance speeding down the street. My hearing aid helps me to hear some of these sounds. I was a pupil in an oral-deaf education program for five years until the end of 1962. During those years, I was variously coaxed, dragooned and persuaded into the world of hearing. I was introduced to a world of bubbles, balloons and fingers placed on lips to learn the shape, taste and feel of sounds, their push and pull of air through tongue and lips. By these mechanics, I gained entry to the portal of spoken, rather than signed, speech. When I was eight years old, my parents moved me from the Gladstone Road School for the Deaf in Dutton Park to All Hallows, an inner-city girls’ school, for the start of Grade Three. I did not know, of course, that I was also leaving my world of deaf friends to begin a new life immersed in the hearing world. I had no way of understanding that this act of transferring me from one school to another was a profound statement of my parents’ hopes for me. They wanted me to have a life in which I would enjoy all the advantages and opportunities routinely available to hearing people. Like so many parents before them, ‘they had to find answers that might not, for all they knew, exist . . . How far would I be able to lead a ‘normal’ life? . . . How would I earn a living? You can imagine what forebodings weighed on them. They could not know that things might work out better than they feared’ (Wright, 22). Now, forty-four years later, I have been reflecting on the impact of that long-ago decision made on my behalf by my parents. They made the right decision for me. The quality of my life reflects the rightness of their decision. I have enjoyed a satisfying career in social work and public policy embedded in a life of love and friendships. This does not mean that I believe that my parents’ decision to remove me from one world to another would necessarily be the right decision for another deaf child. I am not a zealot for the cause of oralism despite its obvious benefits. I am, however, stirred by the Gemini-like duality within me, the deaf girl who is twin to the hearing persona I show to the world, to tell my story of deafness as precisely as I can. Before I can do this, I have to find that story because it is not as apparent to me as might be expected. In an early published memoir-essay about my deaf girlhood, I Hear with My Eyes (in Schulz), I wrote about my mother’s persistence in making sure that I learnt to speak rather than sign, the assumed communication strategy for most deaf people back in the 1950s. I crafted a selection of anecdotes, ranging in tone, I hoped, from sad to tender to laugh-out-loud funny. I speculated on the meaning of certain incidents in defining who I am and the successes I have enjoyed as a deaf woman in a hearing world. When I wrote this essay, I searched for what I wanted to say. I thought, by the end of it, that I’d said everything that I wanted to say. I was ready to move on, to write about other things. However, I was delayed by readers’ responses to that essay and to subsequent public speaking engagements. Some people who read my essay told me that they liked its fresh, direct approach. Others said that they were moved by it. Friends were curious and fascinated to get the inside story of my life as a deaf person as it has not been a topic of conversation or inquiry among us. They felt that they’d learnt something about what it means to be deaf. Many responses to my essay and public presentations had relief and surprise as their emotional core. Parents have cried on hearing me talk about the fullness of my life and seem to regard me as having given them permission to hope for their own deaf children. Educators have invited me to speak at parent education evenings because ‘to have an adult who has a hearing impairment and who has developed great spoken language and is able to communicate in the community at large – that would be a great encouragement and inspiration for our families’ (Email, April 2007). I became uncomfortable about these responses because I was not sure that I had been as honest or direct as I could have been. What lessons on being deaf have people absorbed by reading my essay and listening to my presentations? I did not set out to be duplicitous, but I may have embraced the writer’s aim for the neatly curved narrative arc at the cost of the flinty self-regarding eye and the uncertain conclusion. * * * Let me start again. I was born deaf at a time, in the mid 1950s, when people still spoke of the ‘deaf-mute’ or the ‘deaf and dumb.’ I belonged to a category of children who attracted the gaze of the curious, the kind, and the cruel with mixed results. We were bombarded with questions we could either not hear and so could not answer, or that made us feel we were objects for exploration. We were the patronized beneficiaries of charitable picnics organized for ‘the disadvantaged and the handicapped.’ Occasionally, we were the subject of taunts, with words such as ‘spastic’ being speared towards us as if to be called such a name was a bad thing. I glossed over this muddled social response to deafness in my published essay. I cannot claim innocence as my defence. I knew I was glossing over it but I thought this was right and proper: after all, why stir up jagged memories? Aren’t some things better left unexpressed? Besides, keep the conversation nice, I thought. The nature of readers’ responses to my essay provoked me into a deeper exploration of deafness. I was shocked by the intensity of so many parents’ grief and anxiety about their children’s deafness, and frustrated by the notion that I am an inspiration because I am deaf but oral. I wondered what this implied about my childhood deaf friends who may not speak orally as well as I do, but who nevertheless enjoy fulfilling lives. I was stunned by the admission of a mother of a five year old deaf son who, despite not being able to speak, has not been taught how to Sign. She said, ‘Now that I’ve met you, I’m not so frightened of deaf people anymore.’ My shock may strike the average hearing person as naïve, but I was unnerved that so many parents of children newly diagnosed with deafness were grasping my words with the relief of people who have long ago lost hope in the possibilities for their deaf sons and daughters. My shock is not directed at these parents but at some unnameable ‘thing out there.’ What is going on out there in the big world that, 52 years after my mother experienced her own grief, bewilderment, anxiety and quest to forge a good life for her little deaf daughter, contemporary parents are still experiencing those very same fears and asking the same questions? Why do parents still receive the news of their child’s deafness as a death sentence of sorts, the death of hope and prospects for their child, when the facts show – based on my own life experiences and observations of my deaf school friends’ lives – that far from being a death sentence, the diagnosis of deafness simply propels a child into a different life, not a lesser life? Evidently, a different sort of silence has been created over the years; not the silence of hearing loss but the silence of lost stories, invisible stories, unspoken stories. I have contributed to that silence. For as long as I can remember, and certainly for all of my adult life, I have been careful to avoid being identified as ‘a deaf person.’ Although much of my career was taken up with considering the equity dilemmas of people with a disability, I had never assumed the mantle of advocacy for deaf people or deaf rights. Some of my early silence about deaf identity politics was consistent with my desire not to shine the torch on myself in this way. I did not want to draw attention to myself by what I did not have, that is, less hearing than other people. I thought that if I lived my life as fully as possible in the hearing world and with as little fuss as possible, then my success in blending in would be eloquence enough. If I was going to attract attention, I wanted it to be on the basis of merit, on what I achieved. Others would draw the conclusions that needed to be drawn, that is, that deaf people can take their place fully in the hearing world. I also accepted that if I was to be fully ‘successful’ – and I didn’t investigate the meaning of that word for many years – in the hearing world, then I ought to isolate myself from my deaf friends and from the deaf culture. I continued to miss them, particularly one childhood friend, but I was resolute. I never seriously explored the possibility of straddling both worlds, despite the occasional invitation to do so. For example, one of my childhood deaf friends, Damien, visited me at my parents’ home once, when we were both still in our teens. He was keen for me to join him in the Deaf Theatre, but I couldn’t muster the emotional dexterity that I felt this required. Instead, I let myself to be content to hear news of my childhood deaf friends through the grape-vine. This was, inevitably, a patchy process that lent itself to caricature. Single snippets of information about this person or that person ballooned into portrait-size depictions of their lives as I sketched the remaining blanks of their history with my imagination as my only tool. My capacity to be content with my imagination faltered. * * * Despite the construction of public images of deafness around the highly visible performance of hand-signed communication, the ‘how-small-can-we-go?’ advertorials of hearing aids and the cochlear implant with its head-worn speech processor, deafness is often described as ‘the invisible disability.’ My own experience bore this out. I became increasingly self-conscious about the singularity of my particular success, moderate in the big scheme of things though that may be. I looked around me and wondered ‘Why don’t I bump into more deaf people during the course of my daily life?’ After all, I am not a recluse. I have broad interests. I have travelled a lot, and have enjoyed a policy career for some thirty years, spanning the three tiers of government and scaling the competitive ladder with a reasonable degree of nimbleness. Such a career has got me out and about quite a bit: up and down the Queensland coast and out west, down to Sydney, Melbourne, Canberra, Adelaide and Hobart, and to the United Kingdom. And yet, not once in those thirty years did I get to share an office or a chance meeting or a lunch break with another deaf person. The one exception took place in the United Kingdom when I attended a national conference in which the keynote speaker was the Chairman of the Audit Commission, a man whose charisma outshines his profound deafness. After my return to Australia from the United Kingdom, a newspaper article about an education centre for deaf children in a leafy suburb of Brisbane, prompted me into action. I decided to investigate what was going on in the world of education for deaf children and so, one warm morning in 2006, I found myself waiting in the foyer for the centre’s clinical director. I flicked through a bundle of brochures and newsletters. They were loaded with images of smiling children wearing cochlear implants. Their message was clear: a cochlear implant brought joy, communication and participation in all that the world has to offer. This seemed an easy miracle. I had arrived with an open mind but now found myself feeling unexpectedly tense, as if I was about to walk a high-wire without the benefit of a safety net. Not knowing the reason for my fear, I swallowed it and smiled at the director in greeting upon her arrival. She is physically a small person but her energy is large. Her passion is bracing. That morning, she was quick to assert the power of cochlear implants by simply asking me, ‘Have you ever considered having an implant?’ When I shook my head, she looked at me appraisingly, ‘I’m sure you’d benefit from it’ before ushering me into a room shining with sun-dappled colour and crowded with a mess of little boys and girls. The children were arrayed in a democracy of shorts, shirts, and sandals. Only the occasional hair-ribbon or newly pressed skirt separated this girl from that boy. Some young mothers and fathers, their faces stretched with tension, stood or sat around the room’s perimeter watching their infant children. The noise in the room was orchestral, rising and falling to a mash of shouts, cries and squeals. A table had been set with several plastic plates in which diced pieces of browning apple, orange slices and melon chunks swam in a pond of juice. Some small children clustered around it, waiting to be served. When they finished their morning fruit, they were rounded up to sit at the front of the room, before a teacher poised with finger-puppets of ducks. I tripped over a red plastic chair – its tiny size designed to accommodate an infant’s bottom and small-sausage legs – and lowered myself onto it to take in the events going on around me. The little boys and girls laughed merrily as they watched their teacher narrate the story of a mother duck and her five baby ducks. Her hands moved in a flurry of duck-billed mimicry. ‘“Quack! Quack! Quack!” said the mother duck!’ The parents trilled along in time with the teacher. As I watched the children at the education centre that sunny morning, I saw that my silence had acted as a brake of sorts. I had, for too long, buried the chance to understand better the complex lives of deaf people as we negotiate the claims and demands of the hearing world. While it is true that actions speak louder than words, the occasional spoken and written word must surely help things along a little. I also began to reflect on the apparent absence of the inter-generational transfer of wisdom and insights born of experience rather than academic studies. Why does each new generation of parents approach the diagnosis of their newborn child’s disability or deafness with such intensity of fear, helplessness and dread for their child’s fate? I am not querying the inevitability of parents experiencing disappointment and shock at receiving unexpected news. I accept that to be born deaf means to be born with less than perfect hearing. All the same, it ought not to be inevitable that parents endure sustained grief about their child’s prospects. They ought to be illuminated as quickly as possible about all that is possible for their child. In particular, they ought to be encouraged to enjoy great hopes for their child. I mused about the power of story-telling to influence attitudes. G. Thomas Couser claims that ‘life writing can play a significant role in changing public attitudes about deafness’ (221) but then proceeds to cast doubt on his own assertion by later asking, ‘to what degree and how do the extant narratives of deafness rewrite the discourse of disability? Indeed, to what degree and how do they manage to represent the experience of deafness at all?’ (225). Certainly, stories from the Deaf community do not speak for me as my life has not been shaped by the framing of deafness as a separate linguistic and cultural entity. Nor am I drawn to the militancy of identity politics that uses terms such as ‘oppression’ and ‘oppressors’ to deride the efforts of parents and educators to teach deaf children to speak (Lane; Padden and Humphries). This seems to be unhelpfully hostile and assumes that deafness is the sole arbitrating reason that deaf people struggle with understanding who they are. It is the nature of being human to struggle with who we are. Whether we are deaf, migrants, black, gay, mentally ill – or none of these things – we are all answerable to the questions: ‘who am I and what is my place in the world?’ As I cast around for stories of deafness and deaf people with which I could relate, I pondered on the relative infrequency of deaf characters in literature, and the scarcity of autobiographies by deaf writers or biographies of deaf people by either deaf or hearing people. I also wondered whether written stories of deafness, memoirs and fiction, shape public perceptions or do they simply respond to existing public perceptions of deafness? As Susan DeGaia, a deaf academic at California State University writes, ‘Analysing the way stories are told can show us a lot about who is most powerful, most heard, whose perspective matters most to society. I think if we polled deaf/Deaf people, we would find many things missing from the stories that are told about them’ (DeGaia). Fighting my diffidence in staking out my persona as a ‘deaf woman’ and mustering the ‘conviction as to the importance of what [I have] to say, [my] right to say it’ (Olsen 27), I decided to write The Art of Being Deaf, an anthology of personal essays in the manner of reflective memoirs on deafness drawing on my own life experiences and supported by additional research. This presented me with a narrative dilemma because my deafness is just one of several life-events by which I understand myself. I wanted to find fresh ways of telling stories of deaf experiences while fashioning my memoir essays to show the texture of my life in all its variousness. A.N.Wilson’s observation about the precarious insensitivity of biographical writing was my guiding pole-star: the sense of our own identity is fluid and tolerant, whereas our sense of the identity of others is always more fixed and quite often edges towards caricature. We know within ourselves that we can be twenty different persons in a single day and that the attempt to explain our personality is doomed to become a falsehood after only a few words ... . And yet ... works of literature, novels and biographies depend for their aesthetic success precisely on this insensitive ability to simplify, to describe, to draw lines around another person and say, ‘This is she’ or ‘This is he.’ I have chosen to explore my relationship with my deafness through the multiple-threads of writing several personal essays as my story-telling vehicle rather than as a single-thread autobiography. The multiple-thread approach to telling my stories also sought to avoid the pitfalls of identity narrative in which I might unwittingly set myself up as an exemplar of one sort or another, be it as a ‘successful deaf person’ or as an ‘angry militant deaf activist’ or as ‘a deaf individual in denial attempting to pass as hearing.’ But in seeking to avoid these sorts of stories, what autobiographical story am I trying to tell? Because, other than being deaf, my life is not otherwise especially unusual. It is pitted here with sadness and lifted there with joy, but it is mostly a plateau held stable by the grist of daily life. Christopher Jon Heuer recognises this dilemma when he writes, ‘neither autobiography nor biography nor fiction can survive without discord. Without it, we are left with boredom. Without it, what we have is the lack of a point, a theme and a plot’ (Heuer 196). By writing The Art of Being Deaf, I am learning more than I have to teach. In the absence of deaf friends or mentors, and in the climate of my own reluctance to discuss my concerns with hearing people who, when I do flag any anxieties about issues arising from my deafness tend to be hearty and upbeat in their responses, I have had to work things out for myself. In hindsight, I suspect that I have simply ignored most of my deafness-related difficulties, leaving the heavy lifting work to my parents, teachers, and friends – ‘for it is the non-deaf who absorb a large part of the disability’ (Wright, 5) – and just got on with things by complying with what was expected of me, usually to good practical effect but at the cost of enriching my understanding of myself and possibly at the cost of intimacy. Reading deaf fiction and memoirs during the course of this writing project is proving to be helpful for me. I enjoy the companionability of it, but not until I got over my fright at seeing so many documented versions of deaf experiences, and it was a fright. For a while there, it was like walking through the Hall of Mirrors in Luna Park. Did I really look like that? Or no, perhaps I was like that? But no, here’s another turn, another mirror, another face. Spinning, twisting, turning. It was only when I stopped searching for the right mirror, the single defining portrait, that I began to enjoy seeing my deaf-self/hearing-persona experiences reflected in, or challenged by, what I read. Other deaf writers’ recollections are stirring into fresh life my own buried memories, prompting me to re-imagine them so that I can examine my responses to those experiences more contemplatively and less reactively than I might have done originally. We can learn about the diversity of deaf experiences and the nuances of deaf identity that rise above the stock symbolic scripts by reading authentic, well-crafted stories by memoirists and novelists. Whether they are hearing or deaf writers, by providing different perspectives on deafness, they have something useful to say, demonstrate and illustrate about deafness and deaf people. I imagine the possibility of my book, The Art of Being Deaf, providing a similar mentoring role to other deaf people and families.References Couser, G. Thomas. Recovering Bodies: Illness, Disablity, and Life Writing. Wisconsin: University of Wisconsin Press, 1997. Heuer, Christopher Jon. ‘Deafness as Conflict and Conflict Component.’ Sign Language Studies 7.2 (Winter 2007): 195-199. Lane, Harlan. When the Mind Hears: A History of the Deaf. New York: Random House, 1984 Olsen, Tillie. Silences. New York: Delta/Seymour Lawrence. 1978. Padden, Carol, and Tom Humphries. Deaf in America: Voices from a Culture. Cambridge, Mass.: Harvard University Press, 1998. Schulz, J. (ed). A Revealed Life. Sydney: ABC Books and Griffith Review. 2007 Wilson, A.N. Incline Our Hearts. London: Penguin Books. 1988. Wright, David. Deafness: An Autobiography. New York: Stein and Day, 1969.

“...children’s play seems to become more and more a product of the educational and cultural orientation of parents...” — Stephen Kline, The Making of Children’s Culture We live in a world saturated by design and through design artefacts, one can glean unique insights into a culture's values and norms. In fact, some academics, such as British media and film theorist Ben Highmore, see the two areas so inextricably intertwined as to suggest a wholesale “re-branding of the cultural sciences as design studies” (14). Too often, however, everyday objects are marginalised or overlooked as objects of scholarly attention. The field of material culture studies seeks to change that by focussing on the quotidian object and its ability to reveal much about the time, place, and culture in which it was designed and used. This article takes on one such object, a mid-century children's toy tea set, whose humble journey from 1968 Sears catalogue to 2014 thrift shop—and subsequently this author’s basement—reveals complex rhetorical messages communicated both visually and verbally. As material culture studies theorist Jules Prown notes, the field’s foundation is laid upon the understanding “that objects made ... by man reflect, consciously or unconsciously, directly or indirectly, the beliefs of individuals who made, commissioned, purchased or used them, and by extension the beliefs of the larger society to which they belonged” (1-2). In this case, the objects’ material and aesthetic characteristics can be shown to reflect some of the pervasive stereotypes and gender roles of the mid-century and trace some of the prevailing tastes of the American middle class of that era, or perhaps more accurately the type of design that came to represent good taste and a modern aesthetic for that audience. A wealth of research exists on the function of toys and play in learning about the world and even the role of toy selection in early sex-typing, socialisation, and personal identity of children (Teglasi). This particular research area isn’t the focus of this article; however, one aspect that is directly relevant and will be addressed is the notion of adult role-playing among children and the role of toys in communicating certain adult practices or values to the child—what sociologist David Oswell calls “the dedifferentiation of childhood and adulthood” (200). Neither is the focus of this article the practice nor indeed the ethicality of marketing to children. Relevant to this particular example I suggest, is as a product utilising messaging aimed not at children but at adults, appealing to certain parents’ interest in nurturing within their child a perceived era and class-appropriate sense of taste. This was fuelled in large part by the curatorial pursuits of the Museum of Modern Art (MoMA) in New York, coupled with an interest and investment in raising their children in a design-forward household and a desire for toys that reflected that priority; in essence, parents wishing to raise modern children. Following Prown’s model of material culture analysis, the tea set is examined in three stages, through description, deduction and speculation with each stage building on the previous one. Figure 1: Porcelain Toy Tea Set. Description The tea set consists of twenty-six pieces that allows service for six. Six cups, saucers, and plates; a tall carafe with spout, handle and lid; a smaller vessel with a spout and handle; a small round bowl with a lid; a larger oval bowl with a lid, and a coordinated oval platter. The cups are just under two inches tall and two inches in diameter. The largest piece, the platter is roughly six inches by four inches. The pieces are made of a ceramic material white in colour and glossy in texture and are very lightweight. The rim or edge of each piece is decorated with a motif of three straight lines in two different shades of blue and in different thicknesses, interspersed with a set of three black wiggly lines. Figure 2: Porcelain Toy Tea Set Box. The set is packaged for retail purposes and the original box appears to be fully intact. The packaging of an object carries artefactual evidence just as important as what it contains that falls into the category of a “‘para-artefact’ … paraphernalia that accompanies the product (labels, packaging, instructions etc.), all of which contribute to a product’s discourse” (Folkmann and Jensen 83). The graphics on the box are colourful, featuring similar shades of teal blue as found on the objects, with the addition of orange and a silver sticker featuring the logo of the American retailer Sears. The cover features an illustration of the objects on an orange tabletop. The most prominent text that confirms that the toy is a “Porcelain Toy Tea Set” is in an organic, almost psychedelic style that mimics both popular graphics of this era—especially album art and concert posters—as well as the organic curves of steam that emanate from the illustrated teapot’s spout. Additional messages appear on the box, in particular “Contemporary DESIGN” and “handsome, clean-line styling for modern little hostesses”. Along the edges of the box lid, a detail of the decorative motif is reproduced somewhat abstracted from what actually appears on the ceramic objects. Figure 3: Sears’s Christmas Wishbook Catalogue, page 574 (1968). Sears, Roebuck and Co. (Sears) is well-known for its over one-hundred-year history of producing printed merchandise catalogues. The catalogue is another important para-artefact to consider in analysing the objects. The tea set first appeared in the 1968 Sears Christmas Wishbook. There is no date or copyright on the box, so only its inclusion in the catalogue allows the set to be accurately dated. It also allows us to understand how the set was originally marketed. Deduction In the deduction phase, we focus on the sensory aesthetic and functional interactive qualities of the various components of the set. In terms of its function, it is critical that we situate the objects in their original use context, play. The light weight of the objects and thinness of the ceramic material lends the objects a delicate, if not fragile, feeling which indicates that this set is not for rough use. Toy historian Lorraine May Punchard differentiates between toy tea sets “meant to be used by little girls, having parties for their friends and practising the social graces of the times” and smaller sets or doll dishes “made for little girls to have parties with their dolls, or for their dolls to have parties among themselves” (7). Similar sets sold by Sears feature images of girls using the sets with both human playmates and dolls. The quantity allowing service for six invites multiple users to join the party. The packaging makes clear that these toy tea sets were intended for imaginary play only, rendering them non-functional through an all-capitals caution declaiming “IMPORTANT: Do not use near heat”. The walls and handles of the cups are so thin one can imagine that they would quickly become dangerous if filled with a hot liquid. Nevertheless, the lid of the oval bowl has a tan stain or watermark which suggests actual use. The box is broken up by pink cardboard partitions dividing it into segments sized for each item in the set. Interestingly even the small squares of unfinished corrugated cardboard used as cushioning between each stacked plate have survived. The evidence of careful re-packing indicates that great care was taken in keeping the objects safe. It may suggest that even though the set was used, the children or perhaps the parents, considered the set as something to care for and conserve for the future. Flaws in the glaze and applique of the design motif can be found on several pieces in the set and offer some insight as to the technique used in producing these items. Errors such as the design being perfectly evenly spaced but crooked in its alignment to the rim, or pieces of the design becoming detached or accidentally folded over and overlapping itself could only be the result of a print transfer technique popularised with decorative china of the Victorian era, a technique which lends itself to mass production and lower cost when compared to hand decoration. Speculation In the speculation stage, we can consider the external evidence and begin a more rigorous investigation of the messaging, iconography, and possible meanings of the material artefact. Aspects of the set allow a number of useful observations about the role of such an object in its own time and context. Sociologists observe the role of toys as embodiments of particular types of parental messages and values (Cross 292) and note how particularly in the twentieth century “children’s play seems to become more and more a product of the educational and cultural orientation of parents” (Kline 96). Throughout history children’s toys often reflected a miniaturised version of the adult world allowing children to role-play as imagined adult-selves. Kristina Ranalli explored parallels between the practice of drinking tea and the play-acting of the child’s tea party, particularly in the nineteenth century, as a gendered ritual of gentility; a method of socialisation and education, and an opportunity for exploratory and even transgressive play by “spontaneously creating mini-societies with rules of their own” (20). Such toys and objects were available through the Sears mail-order catalogue from the very beginning at the end of the nineteenth century (McGuire). Propelled by the post-war boom of suburban development and homeownership—that generation’s manifestation of the American Dream—concern with home décor and design was elevated among the American mainstream to a degree never before seen. There was a hunger for new, streamlined, efficient, modernist living. In his essay titled “Domesticating Modernity”, historian Jeffrey L. Meikle notes that many early modernist designers found that perhaps the most potent way to “‘domesticate’ modernism and make it more familiar was to miniaturise it; for example, to shrink the skyscraper and put it into the home as furniture or tableware” (143). Dr Timothy Blade, curator of the 1985 exhibition of girls’ toys at the University of Minnesota’s Goldstein Gallery—now the Goldstein Museum of Design—described in his introduction “a miniaturised world with little props which duplicate, however rudely, the larger world of adults” (5). Noting the power of such toys to reflect adult values of their time, Blade continues: “the microcosm of the child’s world, remarkably furnished by the miniaturised props of their parents’ world, holds many direct and implied messages about the society which brought it into being” (9). In large part, the mid-century Sears catalogues capture the spirit of an era when, as collector Thomas Holland observes, “little girls were still primarily being offered only the options of glamour, beauty and parenthood as the stuff of their fantasies” (175). Holland notes that “the Wishbooks of the fifties [and, I would add, the sixties] assumed most girls would follow in their mother’s footsteps to become full-time housewives and mommies” (1). Blade grouped toys into three categories: cooking, cleaning, and sewing. A tea set could arguably be considered part of the cooking category, but closer examination of the language used in marketing this object—“little hostesses”, et cetera—suggests an emphasis not on cooking but on serving or entertaining. This particular category was not prevalent in the era examined by Blade, but the cultural shifts of the mid-twentieth century, particularly the rapid popularisation of a suburban lifestyle, may have led to the use of entertaining as an additional distinct category of role play in the process of learning to become a “proper” homemaker. Sears and other retailers offered a wide variety of styles of toy tea sets during this era. Blade and numerous other sources observe that children’s toy furniture and appliances tended to reflect the style and aesthetic qualities of their contemporary parallels in the adult world, the better to associate the child’s objects to its adult equivalent. The toy tea set’s packaging trumpets messages intended to appeal to modernist values and identity including “Contemporary Design” and “handsome, clean-line styling for modern little hostesses”. The use of this coded marketing language, aimed particularly at parents, can be traced back several decades. In 1928 a group of American industrial and textile designers established the American Designers' Gallery in New York, in part to encourage American designers to innovate and adopt new styles such as those seen in the L’ Exposition Internationale des Arts Decoratifs et Industriels Modernes (1925) in Paris, the exposition that sparked international interest in the Art Deco or Art Moderne aesthetic. One of the gallery founders, Ilonka Karasz, a Hungarian-American industrial and textile designer who had studied in Austria and was influenced by the Wiener Werkstätte in Vienna, publicised her new style of nursery furnishings as “designed for the very modern American child” (Brown 80). Sears itself was no stranger to the appeal of such language. The term “contemporary design” was ubiquitous in catalogue copy of the nineteen-fifties and sixties, used to describe everything from draperies (1959) and bedspreads (1961) to spice racks (1964) and the Lady Kenmore portable dishwasher (1961). An emphasis on the role of design in one’s life and surroundings can be traced back to efforts by MoMA. The museum’s interest in modern design hearkens back almost to the institution’s inception, particularly in relation to industrial design and the aestheticisation of everyday objects (Marshall). Through exhibitions and in partnership with mass-market magazines, department stores and manufacturer showrooms, MoMA curators evangelised the importance of “good design” a term that can be found in use as early as 1942. What Is Good Design? followed the pattern of prior exhibitions such as What Is Modern Painting? and situated modern design at the centre of exhibitions that toured the United States in the first half of the nineteen-fifties. To MoMA and its partners, “good design” signified the narrow identification of proper taste in furniture, home decor and accessories; effectively, the establishment of a design canon. The viewpoints enshrined in these exhibitions and partnerships were highly influential on the nation’s perception of taste for decades to come, as the trickle-down effect reached a much broader segment of consumers than those that directly experienced the museum or its exhibitions (Lawrence.) This was evident not only at high-end shops such as Bloomingdale’s and Macy’s. Even mass-market retailers sought out well-known figures of modernist design to contribute to their offerings. Sears, for example, commissioned noted modernist designer and ceramicist Russel Wright to produce a variety of serving ware and decor items exclusively for the company. Notably for this study, he was also commissioned to create a toy tea set for children. The 1957 Wishbook touts the set as “especially created to delight modern little misses”. Within its Good Design series, MoMA exhibitions celebrated numerous prominent Nordic designers who were exploring simplified forms and new material technologies. In the 1968 Wishbook, the retailer describes the Porcelain Toy Tea Set as “Danish-inspired china for young moderns”. The reference to Danish design is certainly compatible with the modernist appeal; after the explosion in popularity of Danish furniture design, the term “Danish Modern” was commonly used in the nineteen-fifties and sixties as shorthand for pan-Scandinavian or Nordic design, or more broadly for any modern furniture design regardless of origin that exhibited similar characteristics. In subsequent decades the notion of a monolithic Scandinavian-Nordic design aesthetic or movement has been debunked as primarily an economically motivated marketing ploy (Olivarez et al.; Fallan). In the United States, the term “Danish Modern” became so commonly misused that the Danish Society for Arts and Crafts called upon the American Federal Trade Commission (FTC) to legally restrict the use of the labels “Danish” and “Danish Modern” to companies genuinely originating in Denmark. Coincidentally the FTC ruled on this in 1968, noting “that ‘Danish Modern’ carries certain meanings, and... that consumers might prefer goods that are identified with a foreign culture” (Hansen 451). In the case of the Porcelain Toy Tea Set examined here, Sears was not claiming that the design was “Danish” but rather “Danish-inspired”. One must wonder, was this another coded marketing ploy to communicate a sense of “Good Design” to potential customers? An examination of the formal qualities of the set’s components, particularly the simplified geometric forms and the handle style of the cups, confirms that it is unlike a traditional—say, Victorian-style—tea set. Punchard observes that during this era some American tea sets were actually being modelled on coffee services rather than traditional tea services (148). A visual comparison of other sets sold by Sears in the same year reveals a variety of cup and pot shapes—with some similar to the set in question—while others exhibit more traditional teapot and cup shapes. Coffee culture was historically prominent in Nordic cultures so there is at least a passing reference to that aspect of Nordic—if not specifically Danish—influence in the design. But what of the decorative motif? Simple curved lines were certainly prominent in Danish furniture and architecture of this era, and occasionally found in combination with straight lines, but no connection back to any specific Danish motif could be found even after consultation with experts in the field from the Museum of Danish America and the Vesterheim National Norwegian-American Museum (personal correspondence). However, knowing that the average American consumer of this era—even the design-savvy among them—consumed Scandinavian design without distinguishing between the various nations, a possible explanation could be contained in the promotion of Finnish textiles at the time. In the decade prior to the manufacture of the tea set a major design tendency began to emerge in the United States, triggered by the geometric design motifs of the Finnish textile and apparel company Marimekko. Marimekko products were introduced to the American market in 1959 via the Cambridge, Massachusetts-based retailer Design Research (DR) and quickly exploded in popularity particularly after would-be First Lady Jacqueline Kennedy appeared in national media wearing Marimekko dresses during the 1960 presidential campaign and on the cover of Sports Illustrated magazine. (Thompson and Lange). The company’s styling soon came to epitomise a new youth aesthetic of the early nineteen sixties in the United States, a softer and more casual predecessor to the London “mod” influence. During this time multiple patterns were released that brought a sense of whimsy and a more human touch to classic mechanical patterns and stripes. The patterns Piccolo (1953), Helmipitsi (1959), and Varvunraita (1959), all designed by Vuokko Eskolin-Nurmesniemi offered varying motifs of parallel straight lines. Maija Isola's Silkkikuikka (1961) pattern—said to be inspired by the plumage of the Great Crested Grebe—combined parallel serpentine lines with straight and angled lines, available in a variety of colours. These and other geometrically inspired patterns quickly inundated apparel and decor markets. DR built a vastly expanded Cambridge flagship store and opened new locations in New York in 1961 and 1964, and in San Francisco in 1965 fuelled in no small part by the fact that they remained the exclusive outlet for Marimekko in the United States. It is clear that Marimekko’s approach to pattern influenced designers and manufacturers across industries. Design historian Lesley Jackson demonstrates that Marimekko designs influenced or were emulated by numerous other companies across Scandinavia and beyond (72-78). The company’s influence grew to such an extent that some described it as a “conquest of the international market” (Hedqvist and Tarschys 150). Subsequent design-forward retailers such as IKEA and Crate and Barrel continue to look to Marimekko even today for modern design inspiration. In 2016 the mass-market retailer Target formed a design partnership with Marimekko to offer an expansive limited-edition line in their stores, numbering over two hundred items. So, despite the “Danish” misnomer, it is quite conceivable that designers working for or commissioned by Sears in 1968 may have taken their aesthetic cues from Marimekko’s booming work, demonstrating a clear understanding of the contemporary high design aesthetic of the time and coding the marketing rhetoric accordingly even if incorrectly. Conclusion The Sears catalogue plays a unique role in capturing cross-sections of American culture not only as a sales tool but also in Holland’s words as “a beautifully illustrated diary of America, it’s [sic] people and the way we thought about things” (1). Applying a rhetorical and material culture analysis to the catalogue and the objects within it provides a unique glimpse into the roles these objects played in mediating relationships, transmitting values and embodying social practices, tastes and beliefs of mid-century American consumers. Adult consumers familiar with the characteristics of the culture of “Good Design” potentially could have made a connection between the simplified geometric forms of the components of the toy tea set and say the work of modernist tableware designers such as Kaj Franck, or between the set’s graphic pattern and the modernist motifs of Marimekko and its imitators. But for a much broader segment of the population with a less direct understanding of modernist aesthetics, those connections may not have been immediately apparent. The rhetorical messaging behind the objects’ packaging and marketing used class and taste signifiers such as modern, contemporary and “Danish” to reinforce this connection to effect an emotional and aspirational appeal. These messages were coded to position the set as an effective transmitter of modernist values and to target parents with the ambition to create “appropriately modern” environments for their children. References Ancestry.com. “Historic Catalogs of Sears, Roebuck and Co., 1896–1993.” <http://search.ancestry.com/search/db.aspx?dbid=1670>. Baker Furniture Inc. “Design Legacy: Our Story.” n.d. <http://www.bakerfurniture.com/design-story/ legacy-of-quality/design-legacy/>. Blade, Timothy Trent. “Introduction.” Child’s Play, Woman’s Work: An Exhibition of Miniature Toy Appliances: June 12, 1985–September 29, 1985. St. Paul: Goldstein Gallery, U Minnesota, 1985. Brown, Ashley. “Ilonka Karasz: Rediscovering a Modernist Pioneer.” Studies in the Decorative Arts 8.1 (2000-1): 69–91. Cross, Gary. “Gendered Futures/Gendered Fantasies: Toys as Representatives of Changing Childhood.” American Journal of Semiotics 12.1 (1995): 289–310. Dolansky, Fanny. “Playing with Gender: Girls, Dolls, and Adult Ideals in the Roman World.” Classical Antiquity 31.2 (2012): 256–92. Fallan, Kjetil. Scandinavian Design: Alternative Histories. Berg, 2012. Folkmann, Mads Nygaard, and Hans-Christian Jensen. “Subjectivity in Self-Historicization: Design and Mediation of a ‘New Danish Modern’ Living Room Set.” Design and Culture 7.1 (2015): 65–84. Hansen, Per H. “Networks, Narratives, and New Markets: The Rise and Decline of Danish Modern Furniture Design, 1930–1970.” The Business History Review 80.3 (2006): 449–83. Hedqvist, Hedvig, and Rebecka Tarschys. “Thoughts on the International Reception of Marimekko.” Marimekko: Fabrics, Fashions, Architecture. Ed. Marianne Aav. Bard. 2003. 149–71. Highmore, Ben. The Design Culture Reader. Routledge, 2008. Holland, Thomas W. Girls’ Toys of the Fifties and Sixties: Memorable Catalog Pages from the Legendary Sears Christmas Wishbooks, 1950-1969. Windmill, 1997. Hucal, Sarah. "Scandi Crush Saga: How Scandinavian Design Took over the World." Curbed, 23 Mar. 2016. <http://www.curbed.com/2016/3/23/11286010/scandinavian-design-arne-jacobsen-alvar-aalto-muuto-artek>. 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Huston. “Development of Sex-Typed Play Behavior in Toddlers.” Developmental Psychology, 21.5 (1985): 866–71. Olivarez, Jennifer Komar, Jukka Savolainen, and Juulia Kauste. Finland: Designed Environments. Minneapolis Institute of Arts and Nordic Heritage Museum, 2014. Oswell, David. The Agency of Children: From Family to Global Human Rights. Cambridge UP, 2013. Prown, Jules David. “Mind in Matter: An Introduction to Material Culture Theory and Method.” Winterthur Portfolio 17.1 (1982): 1–19. Punchard, Lorraine May. Child’s Play: Play Dishes, Kitchen Items, Furniture, Accessories. Punchard, 1982. Ranalli, Kristina. An Act Apart: Tea-Drinking, Play and Ritual. Master's thesis. U Delaware, 2013. Sears Corporate Archives. “What Is a Sears Modern Home?” n.d. <http://www.searsarchives.com/homes/index.htm>. "Target Announces New Design Partnership with Marimekko: It’s Finnish, Target Style." Target, 2 Mar. 2016. <http://corporate.target.com/article/2016/03/marimekko-for-target>. 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I sat alone on the beach under the shade of a big umbrella. My husband, Bill, and our three children were in the condo taking a break from the Florida sunshine. Dreamily, I gazed at the vast Gulf of Mexico, the brilliant blue sky stretching endlessly above. I was sitting about 50 feet from the surf, but I couldn't actually see the waves hitting the beach; I was almost blind. It was a windy day in late May and I loved feeling the ocean breeze sweeping over me. I imagined I could hear the waves crashing onto the surf, but the sound was only a memory. I was totally deaf. Although I had a cochlear implant and could hear the waves, the cry of sea gulls, and many other sounds with the technology, I wasn't wearing it at the moment and everything I heard was in my mind. As a child, my understanding of speech was better and my vision was clearer. My diagnosis was optic atrophy at age 5 and my vision gradually degenerated over the years. For unknown reasons, nerve damage caused hearing loss and during my teens, my hearing grew worse and worse until by the time I was ready for college, I was profoundly deaf. I chose to attend Gallaudet University because my high school teachers and my parents felt I would receive better services as a deaf and blind student. I feel it was a very good decision; when I entered Gallaudet, it was like entering a new and exhilarating world. Before attending Gallaudet, while I struggled to cope with hearing loss combined with severely low vision, my world grew smaller and smaller, not being able to communicate efficiently with others. At Gallaudet, I suddenly found I could communicate with almost anybody I met on campus using sign language. Thus, my self-confidence and independence grew as I proceeded to get a college education.It wasn't an easy route to follow. I didn't know Braille at the time and depended on using a CCTV (closed captioned television) electronic aid which magnified text, enabling me to read all my college books. I also relied on the assistance of a class aid who interpreted all my teachers' lectures and class discussions because I was unable to see people's signing unless they signed right in front of my face. It was slow going and often frustrating, trying to keep involved socially and keeping up with my coursework but when I was 13 years old, my vision specialist teacher who had worked with me from 5th grade until I graduated from high school, wrote a note for me saying, "Anything worthwhile seldom comes easy." The phrase stuck in my mind and I tried to follow this philosophy. In 1989 after 7 years of persistence, I graduated with a Bachelor's of Arts degree in psychology. With the B.A. in hand and having developed good communication skills with deaf and deaf-blind people using sign language and ASL (American Sign Language), I was ready to face the world. But I wasn't exactly ready; I knew I wanted a professional job working with deaf-blind people and the way to get there was to earn a master's degree. I applied for admission into Gallaudet's graduate school and was accepted into the vocational rehabilitation counselling program. While I thoroughly enjoyed graduate school experience, I got to work with my class mates one-on-one more often and there were a lot more hands-on activities, it became obvious to me that I wasn't prepared for graduate school. I needed to learn Braille and how to use Braille technology; my vision had worsened a lot since starting college. In addition, I needed a break from school and needed to gain experience in the working world. After completing one and a half years and earning 15 credit hours in the master's program, I left Gallaudet and found a job in Baltimore, Maryland.The job was with a new program for adults who were visually and hearing impaired and mentally disabled. My job was assisting the clients with independent living and work related skills. Most of the other staff were deaf, communicating via ASL. By then, I was skilled using tactile signing, putting my hand on the back of the signer's hand to follow movements by touch, and I made friends with co-workers. I felt grown up and independent working full-time, living in my own apartment, using the subway train and bus to travel to and from work. I didn't have any serious problems living on my own. There was a supermarket up the road to which I could walk or ride a bus. But I needed a taxi ride back to the apartment when I had more groceries than I could carry. I would leave a sign I made out of cardboard and wrote my address in big black numbers, on my apartment door to help the driver find my place. I used a white cane and upon moving to Baltimore, an Orientation and Mobility (O and M) teacher who worked with blind people, showing them how to travel in the city, taught me the route to my work place using the subway and bus. Thus, I was independent and knew my way to work as well as to a nearby shopping mall. One day as I stood on the subway station platform holding my white cane, waiting for my train, the opposite train pulled in. As I stood watching passengers hurrying to board, knowing my train would arrive soon on the other side, a woman ran up to me and started pulling my arm. I handed her my notebook and black marker I used for communicating with people in the public, telling her I couldn't hear and would she please write in large print? She frantically scribbled something, but I couldn't read the note. She then gave me back the pen and pad, grabbed my arm again and started pulling me towards the train. I refused to budge, gesturing towards the opposite tracks, clearly indicating I was waiting for the other train. Finally, she let go, dashed into the train before the doors closed. I watched the train pull away, sadly reflecting that some people who wanted to help, just didn't understand how to approach disabled people. As a deaf-blind traveller, it was my duty to help educate the general public how to assist disabled persons in a humane way. After I established my new life for a few months, Bill was offered a position in the same program and moved to Baltimore to join me. He had worked at the Helen Keller National Centre in New York where I met him while doing a summer internship there three years before. I was thrilled when he got the job working beside me and we got to know each other on a daily basis. We had been dating since we met although I was in college and he was working and living in New York and then Cleveland, Ohio. Bill being hearing and sighted, was skilled in sign language and communication techniques with deaf-blind people. He had a wonderful attitude towards disabled people and made me feel like a normal person who was capable of doing things. We shared a lot and were very comfortable with each other. After nearly six months together in Baltimore, we married in May 1992, several weeks before my 28th birthday.After our first year of marriage living in Maryland, Bill and I moved to Little Rock, Arkansas. We wanted to live closer to my family and parents, Ron and Judy Cummings, who lived in Poplar Bluff, Missouri, 176 miles north of Little Rock. I wanted to go back to school and entered the deaf education program at the University of Arkansas at Little Rock with the goal of becoming a teacher for deaf-blind students. I never dreamed I would have a deaf-blind child of my own one day. My vision and hearing loss were caused by nerve damage and no one else in my family nor Bill's had a similar disability.I was pregnant with our first child when I entered UALR. In spite of my growing belly, I enjoyed the teacher training experience. I worked with a deaf-blind 12-year-old student and her teacher at the Arkansas School for the Deaf; observed two energetic four-year-olds in the pre-school program. But when my son, Joe was born in June 1994, my world changed once again. School became less important and motherhood became the ultimate. As a deaf-blind person, I wanted to be the best mom within my abilities.I decided that establishing good communication with my child was an important aspect of being a deaf-blind mom. Bill was in full agreement and we would set Joe on the kitchen table in his infant carrier, reciting together in sign language, "The three Bears". I could see Joe's tiny fists and feet wave excitedly in the air as he watched us signing children's stories. I would encourage Joe to hold my fingers while I signed to him, trying to establish a tactile signing relationship. But he was almost two years old when he finally understood that he needed to sign into my hands. We were sitting at the table and I had a bag of cookies. I refused to give him one until he made the sign for "cookie" in my hand. I quickly rewarded him with a cookie and he got three or four each time he made the sign in my hand. Today at 16, Joe is an expert finger speller and can effectively communicate with me and his younger deaf-blind brother, Ben.When Joe was two and a half, I decided to explore a cochlear implant. It was 1996 and we were living in Poplar Bluff by then. My cousin, who was studying audiology, told me that people using cochlear implants were able to understand sound so well they didn't need good vision. I made an appointment with the St. Louis cochlear implant program and after being evaluated, I decided to go ahead. I am glad I have a cochlear implant. After months of practice I learned to use the new sound and was eventually able to understand many environmental sounds. I never regained the ability of understanding speech, though, but I could hear people's voices very clearly, the sound of laughter, birds singing, and many more. Being able to hear my children's voices is especially wonderful, even when they get noisy and I get a headache. That fall I went to Leader Dogs School for the Blind (LDSB) where I met Milo, a large yellow Labrador retriever. At LDSB I learned how to care for and work with a dog guide. Having Milo as my companion and guide was like stepping into another new and wonderful world of independence. With Milo, I could walk briskly and feel secure. Milo was a big help as a deaf-blind mom, too. With Milo's guiding help, it was wonderful following my children while they rode tricycles or bikes and the whole family enjoyed going out for walks together. Our second son, Ben, was born in February 1999. He was a perfectly healthy little boy and Bill and I were looking forward to raising two sons. Joe was four and a half years old when Ben was born and was fascinated in his new brother. But when Ben was 5 months old, he was diagnosed with Langerhans Cell Histiocytosis (LCH), a rare childhood disease and in some cases, fatal. It was a long, scary road we followed as Ben received treatment at the children's hospital in St. Louis which involved making the 150 mile trip almost weekly for chemotherapy and doctor check-ups. Through it all, Ben was a happy little boy, in spite of the terrible rash that affected his scalp and diaper area, a symptom of LCH. Bill and I knew that we had to do everything possible to help Ben. When he was a year old, his condition seemed stable enough for me to feel comfortable leaving my family for two months to study Braille and learn new technology skills at a program in Kansas City. My vision had deteriorated to a point where I could no longer use a CCTV.Bill's mom, Marie Reid, who lived in Cleveland, Ohio, made a special trip to stay at our home in Poplar Bluff to help Bill with the boys while I was gone. I was successful at the program, learning Braille, making a change from magnification to Braille technology. Upon returning home, I began looking for a job and found employment as a deaf-blind specialist in a new project in Mississippi. The job was in Tupelo and we moved to northern Mississippi, settling into a new life. We transferred Ben's treatment to St. Judes Children's hospital located in Memphis, 94 miles west of Tupelo. I went to work and Bill stayed home with the boys, which worked well. When Ben had to go to St. Judes every three weeks for chemotherapy, Bill was able to drive him. The treatment was successful, the rash had disappeared and there were no traces of LCH in Ben's blood tests. But when he was almost 3 years old, he was diagnosed with optic atrophy, the same eye disease I suffered from and an audiologist detected signs of inner ear hearing loss.Shocked at the news that our little son would grow up legally blind and perhaps become deaf, Bill and I had to rethink our future. We knew we wanted Ben to have a good life and as a deaf-blind child, he needed quality services. We chose to move to Pittsburgh, Pennsylvania because I knew there were good services for deaf-blind people and I could function independently as a stay-home mom. In addition, Cleveland, Ohio, where Marie Reid and several of Bill's siblings lived, was a two hour's drive from Pittsburgh and living near family was important to us. With regret, I left my job opportunity and new friends and we re-located to Pittsburgh. We lived on a quiet street near Squirrel Hill and enrolled Joe into a near-by Catholic school. Ben received excellent early intervention services through the Pittsburgh public school, beginning Braille, using a white cane and tactile signing. The Pennsylvania services for the blind generously purchased a wonderful computer system and Braille display for me to use at home. I was able to communicate with Joe's and Ben's teachers and other contacts using e-mail. Ben's Braille teacher provided us with several print/Braille books which I read to the boys while Ben touched the tactile pictures. I made friends in the deaf and deaf-blind community and our family attended social events. Besides the social benefits of a deaf community, Pittsburgh offered a wonderful interpreting service and I was able to take Ben to doctor appointments knowing an interpreter would meet me at the hospital to assist with communication. I also found people who were willing to help me as volunteer SSPs (support Service Providers), persons whose role is to assist a deaf-blind person in any way, such as shopping, going to the bank, etc. Thus, I was able to function quite independently while Bill worked. Perhaps Bill and I were a bit crazy; after all, we had enough on our plate with a deaf-blind son and a deaf-blind mom, but love is a mysterious thing. In October 2003, Tim was born and our family was complete. Having two school-aged children and a baby on my hands was too much for me to handle alone. Bill was working and busy with culinary arts school. We realized we needed more help with the children, plus the high cost of living in the city was a struggle for us. We decided for the family's best interest, it would be better to move back to Poplar Bluff. After Joe and Ben were out of school in June, my mom flew out to Pittsburgh to escort them back to her home while Bill finished his externship for his culinary arts degree and in the late summer of 2004, we packed up our apartment, said good-bye to Pittsburgh, and drove to Missouri. The move was a good decision in many ways. Poplar Bluff, a rural town in south-eastern Missouri, has been my hometown since I was 10 years old. My extended family live there and the boys are thriving growing up among their cousins. Ben is receiving Braille and sign language services at public school and reads Braille faster than me!While both Bill and I are deeply satisfied knowing our children are happy, we have made personal sacrifices. Bill has given up his career satisfaction as a professional cook, needing to help look after the children and house. I have given up the benefits of city life such as interpreting and SSP services, not to mention the social benefits of a deaf community. But the children's well-being comes first, and I have found ways to fulfil my needs by getting involved with on-line groups for deaf-blind people, including writers and poets. I have taken a great interest in writing, especially children's stories and hope to establish a career as a writer. While I work on my computer, Bill keeps busy engaging the boys in various projects. They have built a screened-in tree house in the backyard where Ben and Tim like to sleep during warm summer nights.“It's almost 5 o'clock," Bill signed into my hand, rousing me from my thoughts. Time to prepare for our homeward journey the next day to Poplar Bluff, Missouri.Christy and Family

The negative implications of children’s use of the Internet, particularly their loss of innocence through access to pornography, is a topic frequently addressed in public discussions and debate. These debates often take on a technologically determinist point of view and assume that technology directly influences children, usually in a harmful fashion. But what is really happening in the Australian family home? Are parents fearful of these risks, and if so what are they doing about it? A recent exploration of the everyday Internet lives of Australian families indicates that families manage these perceived risks in a variety of ways and are not overly troubled about this issue. Findings from the research project indicate that Australian parents are more concerned about some children’s excessive use of the Internet than about pornography. They construct the Internet as interfering with time available to carry out homework, chores, getting adequate sleep or participating in outdoor (fresh air) activities. This disparity, between public discourse regarding the protection of children in the online environment and the actual significance of this issue in the everyday lives of Australian families, reflects the domestic dynamics within the “moral economy of the household” (Silverstone et al. 15) whereby family relationships and household practices inform the manner in which technology is consumed within any given household. The research project described here (Family Internet: Theorising Domestic Internet Consumption, Production and Use Within Australian Families) is funded by an Australian Research Council Discovery Grant and investigates Internet use within Australian homes with specific reference to families with school-aged children. It explores how individual family members make sense of their family’s engagement with the Internet and investigates ways in which the Internet is integrated within Australian family life. Public Debates The relationship between children and technology is often addressed in public debates regarding children’s health, safety, social and educational development. Within these debates technology is usually held responsible for a variety of harmful consequences to children. These technological ‘effects’ range from the decline of children’s social relationships (with both peers and family); through sedentary lifestyles which impinge on fitness levels and the weight (body mass index) of children; to the corruption of children (and their loss of innocence) through access to unsuitable materials. These unsuitable texts include “soft and hardcore porn, Neo Nazi groups, paedophiles, racial and ethnic hatred” (Valentine et al. 157). Other digital technologies, such as computer and video games, are sometimes seen as exacerbating these problems and raise the spectre of the ‘Nintendo kid’, friendless and withdrawn (Marshall 73), lacking in social skills and unable to relate to others except through multi-player games – although this caricature appears far removed from children’s normal experience of computer gaming (Aisbett: Durkin and Aisbett). Such debates about the negative implications of the Internet and video games run simultaneously alongside government, educational and commercial promotion of these technologies, and the positioning of digital skills and connectivity as the key to children’s future education and employment. In this pro-technology discourse the family: …is being constructed as an entry point for the development of new computer-related literacies and social practices in young people … what is discursively produced within the global cultural economy as digital fun and games for young people, is simultaneously constructed as serious business for parents (Nixon 23). Thus, two conflicting discourses about children’s Internet use exist simultaneously whereby children are considered both “technically competent and at risk from their technical skills” (Valentine et al. 157). This anxiety is further exacerbated by the fear that parents are losing control of their children’s Internet activities because their own (the parents’) technical competencies are being surpassed by their children. Such fear may well be based on misleading information, particularly in the Australian context. The Australian Broadcasting Authority’s 2001 Internet@ home report “challenges the popular belief that parents lag behind their children in their interest and proficiency with online technology. Most often the household Internet ‘expert’ is an adult” (Aisbett 4). Nonetheless, this public anxiety is underscored by a concern that parents may not be sufficiently Internet-savvy to prevent their children’s access to pornography and other undesirable Internet content. This leads to the fundamental anxiety that parents’ natural power base will be diminished (Valentine et al. 157). In the case of children’s access to Internet porn it may well be that: although parents still occupy the role of initiated with regard to sexuality, if they are uninitiated technologically then they lose the power base from which to set the markers for progressive socialisation (Evans and Butkus 68). These popular fears do not take into consideration the context of Internet use in the real world—of children’s and parents’ actual experiences with and uses of the Internet. Parents have developed a variety of ways to manage these perceived risks in the home and are not usually overly concerned about their children’s exposure to unsuitable or inappropriate content on the Internet. Families’ everyday experiences of Internet consumption The home Internet is one site where most parents exercise some degree of care and control of their children, supervising both the quantity and quality of their children’s Internet experiences. When supervising their children’s access to particular Internet sites, parents in this study use a variety of strategies and approaches. These approaches range from a child-empowering ‘autonomous’ approach (which recognises children’s autonomy and competencies) to more authoritarian approaches (with the use of more direct supervision in order to restrict and protect children). At the same time children may use the Internet to affirm their autonomy or independence from their parents, as parents in this study affirm: He used to let me see the [onscreen] conversations but he won’t let me see them now. But that’s fine. If I come up and talk to him, he clicks the button and takes the screen off. (Kathy, pseudonyms used for interviewee contributions) Parents who tend to favour a child-empowering approach recognise their children’s autonomy, while at the same time having relatively high expectations of their children’s psychosocial competence and ability to handle a variety of media texts in a relatively sophisticated manner. When asked about her son’s access to adult Internet content, single mum Lisa indicated that Henry (17) had openly accessed Internet pornography a few years earlier. She expected (and allowed for) some exploration by her son. At the same time, she was not overly concerned that these materials would corrupt or harm him as she expected these explorations to be a transitory phase in his life: It doesn’t bother me at all. If he wants to do that then he can do it because he’ll get sick of it and I think initially it was ‘let’s see what we can do’. I remember once, he called me in and says ‘Mum, come and look at her boobs’ and I looked at it and I said ‘it’s disgusting’ or something and walked away and he laughed his head off. But I’ve never come in [lately] and found him looking at that stuff … It’s just not something that I’m … really worried about. It’s up to him (Lisa). As with this exchange, families often use media texts as tools in the socialisation of children. The provision of shared topics of conversation allows for discussions between generations: Such materials serve an agenda-setting role … [playing] an important role in providing a socioemotional context for the household within which learning takes place. Technoculture is consequently a critical tool for socialisation … ICTs also construct a framework on/with which to differentiate one member from another, to differentiate between generations, and to differentiate ways in which power and control can be asserted (Green 58). In this case, Lisa’s comment to her teenage son (‘it’s disgusting’) and her actions (in walking away) doubtlessly provided Henry with a social cue, an alternative attitude to his choice of online content. Further, in initiating this exchange with his mother, Henry is likely to have been making a statement about his own autonomy and transition into (heterosexual) manhood. In his interview, Henry openly acknowledged his earlier exploration of adult porn sites but (as his mother anticipated) he seems to have moved on from this particular phase. When asked whether he visited adult sites on the Internet Henry responded in his own succinct manner: Henry: Like porn and stuff? Not really. I probably did when I was a bit younger but it’s not really very exciting. Interviewer: That was when you first got it [the Internet] or when? Henry: Yeah, [two to three years earlier] all your friends come around and you check out the sites. It’s nothing exciting anymore. Sexual experiences and knowledge are an important currency within teenage boy culture (Holland et al. 1998) and like other teenage boys, Henry and his friends are likely to have used this technology in order to “negotiate their masculinity within the heterosexual economy of [their] peer group social relations”(Valentine et al. 160). In this case, it seemed to be a transitory stage within Henry’s peer (or community of interest) group and became less important as the teenagers grew into maturity. Many children and young people are also exploring the social world of Internet chat, with the potential risk of unwanted (and unsafe) face-to-face contact. Leonie, mother of teenage girls, explained her daughters’ ability to negotiate these potentially unsafe contacts: I suppose you just get a bit concerned about the chat lines and who they’re talking to sometimes but really they usually tell me … [to 17-year old daughter in the room] Like on the chat lines you, when, had that idiot … that one that was going to come over here. Just some idiots on there. A lot of the kids are teenagers. I know Shani’s [14] gotten on there a few times on the chat line and there’s been obviously someone asking them lewd questions and she’s usually blocked them and cut them off …(Leonie). Daughter Shani also discusses her experiences with unsafe (unwanted) Internet contact: “They go on about stuff that you don’t really want to talk about and it’s just ‘No, I don’t think so’” (Shani, 14). Shani went on to explain that she now prefers to use instant messaging with known (offline) friends—a preference now taken up by many teenagers (Holloway and Green: Livingstone and Bober). Electronic media play an important role in children’s transition to adulthood. The ubiquitousness of the World Wide Web, however, makes restriction and protection of children increasingly difficult to realise (Buckingham 84-5). Instead, many parents in this study are placing more importance on openness, consultation and discussion with their children about the media texts they encounter, rather than imposing restriction and regulation which these parents believe may well be “counter-productive” (Nightingale et al. 19). Of greater disquiet to many parents in this study than their children’s access to unsuitable online content is concern about their children’s possible excessive use of the Internet. Parents were typically more concerned about the amount of time some of their children were spending chatting to friends and playing online games. One mother explains: They [my daughters] started to use MSN whilst they were doing school work and obviously kids are able to listen to music, watch television, do a project. They can multi-task without all the confusion that I [would have] but we actually now, they’re not able to do MSN during the school week at all … so we now said to them, “if you want to ring somebody, give them a call, that’s fine, we don’t mind, but during the week no MSN” … we’ve actually restricted them (Stephanie). Parental concern about children’s excessive use of the Internet was most marked for parents of teenage children: adolescence being a time when “rules about media consumption can be an early site of resistance for young adults keen to take more power for themselves and their own lives” (Green 30). Father of two, Xavier, expressed his concern about (what he perceived as) his teenage son’s excessive use of the Internet: Well I think there’s far too much time … Gavin’ll spend a whole day on it. I try to get him to come to the footy on Sunday. No. He’s available for friends [for online gaming and chat on the Internet]. He’ll spend all day on the computer (Xavier). Son Gavin (16), in a separate interview, anticipated that this criticism had been made and felt compelled to counter it: Well he [dad] makes comments like saying I’m not fit enough ‘cause I spent too much time on the computer but I play soccer a lot. Like, I do sport perhaps everyday at school … I mean, I think, such a piece of crap (Gavin). Thus, the incorporation of the Internet into the domestic sphere often sees previously established boundaries (who uses what, when, where and for how long) redefined, challenged, resisted and defended by various family members. In this way the Internet (and other new media) helps shape (and is shaped by) the temporal and spatial boundaries within the home. Conclusion While all parents in the Family Internet study construct the Internet as a site which requires some level of care and control over their children’s online use, they use a variety of approaches when carrying out this supervisory role. Some parents tend to allow for children’s free exploration of the Internet and are relatively confident that their children are able to negotiate adult texts such as pornography in a comparatively sophisticated manner. Other parents, those inclined to protect their children from the dangers of adult content and unsafe Internet contact, choose to monitor and restrict their children’s access to the Internet to varying degrees. More consistent is parental concern about excessive use of the Internet, and the assumption that this displaces constructive use of children’s time. Public anxieties about children’s use of the Internet make assumptions about children’s media practices. Children (and their families) are often assumed to be less able to differentiate between suitable and unsuitable Internet texts and to deal with these potential dangers in a sensible manner. These fears presuppose a variety of negative impacts on children’s and young peoples’ lives which may have little to do with daily reality. Our exploration of families’ everyday experiences of Internet consumption highlights the disparity between public anxieties about Internet use and the importance of these anxieties in the everyday lives of families. The major concern of families – ill-disciplined and excessive Internet use – barely registers on the same scale as the public moral panic over children’s possible access to online pornography. These findings say less about the Internet as a locale in cyberspace than they do about the domestic dynamics of the household, parenting styles, relationships between parent(s) and children, and the sociocultural context of family life. References Aisbett, Kate. The Internet at Home: A Report on Internet Use in the Home. Sydney: Australian Broadcasting Authority, 2001. Buckingham, David. After the Death of Childhood: Growing up in the Age of Electronic Media. Cambridge, UK: Polity Press, 2000. Durkin, Kevin and Kate Aisbett. Computer Games and Australians Today. Sydney: Office of Film and Literature Classification, 1999. Evans, Mark and Clarice Butkus. “Regulating the Emergent: Cyberporn and the Traditional Media.” Media International Australia 85 (1997): 62-9. Green, Lelia. Technoculture: >From Alphabet to Cybersex. Crows Nest Australia: Allen and Unwin, 2002. Holland, Janet and Caroline Ramazanoglu, Sue Sharpe and Rachel Thomson. The Male in the Head: Young People, Heterosexuality and Power. London: Tufnell Press, 1998. Holloway, Donell and Lelia Green. “Home Is Where You Hang Your @: Australian Women on the Net.” Communications Research Forum. Canberra: Department of Communications, Information Technology and the Arts, 2003. Livingstone, Sonia and Magdalena Bober. UK Children Go Online: Listening to Young People’s Experiences. London: London School of Economics and Political Science, 2003. Marshall, P. David. “Technophobia: Video Games, Computer Hacks and Cybernetics.” Media International Australia 85 (1997): 70-8. Nightingale, Virginia, Dianne Dickenson and Catherine Griff. “Harm: Children’s Views About Media Harm and Program Classification.” Forum. Sydney, Australia, 2000. Nixon, Helen. “Fun and Games Are Serious Business.” Digital Diversions: Youth Culture in the Age of Multi-Media. Ed. J Sefton-Green. London: UCL Press, 1998. Silverstone, Roger, Eric Hirsch and David Morley. “Information and Communication and the Moral Economy of the Household.” Consuming Technologies: Media and Information in Domestic Spaces. Eds. Roger Silverstone and Eric Hirsch. London: Routledge, 1992. 17-31. Valentine, Gill, Sarah Holloway and Nick Bingham. “Transforming Cyberspace: Children’s Interventions in the New Public Sphere.” Children’s Geographies: Playing, Living, Learning. Eds. Sarah L. Holloway and Gill Valentine. London: Routledge, 2000. 156 – 93. MLA Style Holloway, Donell, Lelia Green & Robyn Quin. "What Porn?: Children and the Family Internet." M/C Journal 7.4 (2004). 10 October 2004 <http://www.media-culture.org.au/0410/02_children.php>. APA Style Holloway, D., Green, L. & Quin, R. (2004 Oct 11). What Porn?: Children and the Family Internet, M/C Journal, 7(4). Retrieved Oct 10 2004 from <http://www.media-culture.org.au/0410/02_children.php>

From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elephants have a learnt culture, then it is possible to extend a definition of printing beyond Homo sapiens. Poole reports that elephants mechanically trumpet reproductions of human car horns into the air surrounding their society. If nothing else, this cross-species, cross-cultural reproduction, this ‘ability to mimic’ is ‘another sign of their intelligence’. Observation of child development suggests that the first significant meaningful ‘impression’ made on the human mind is that of the face of the child’s nurturer – usually its mother. The baby’s mind forms an ‘impression’, a mental print, a reproducible memory data set, of the nurturer’s face, voice, smell, touch, etc. That face is itself a cultural construct: hair style, makeup, piercings, tattoos, ornaments, nutrition-influenced skin and smell, perfume, temperature and voice. A mentally reproducible pattern of a unique face is formed in the mind, and we use that pattern to distinguish ‘familiar and strange’ in our expanding social orbit. The social relations of patterned memory – of imprinting – determine the extent to which we explore our world (armed with research aids such as text print) or whether we turn to violence or self-harm (Bretherton). While our cultural artifacts (such as vellum maps or networked voice message servers) bravely extend our significant patterns into the social world and the traversed environment, it is useful to remember that such artifacts, including print, are themselves understood by our original pattern-reproduction and impression system – the human mind, developed in childhood. The ‘print’ is brought to mind differently in different discourses. For a reader, a ‘print’ is a book, a memo or a broadsheet, whether it is the Indian Buddhist Sanskrit texts ordered to be printed in 593 AD by the Chinese emperor Sui Wen-ti (Silk Road) or the US Defense Department memo authorizing lower ranks to torture the prisoners taken by the Bush administration (Sanchez, cited in ABC). Other fields see prints differently. For a musician, a ‘print’ may be the sheet music which spread classical and popular music around the world; it may be a ‘record’ (as in a ‘recording’ session), where sound is impressed to wax, vinyl, charged silicon particles, or the alloys (Smith, “Elpida”) of an mp3 file. For the fine artist, a ‘print’ may be any mechanically reproduced two-dimensional (or embossed) impression of a significant image in media from paper to metal, textile to ceramics. ‘Print’ embraces the Japanese Ukiyo-e colour prints of Utamaro, the company logos that wink from credit card holographs, the early photographs of Talbot, and the textured patterns printed into neolithic ceramics. Computer hardware engineers print computational circuits. Homicide detectives investigate both sweaty finger prints and the repeated, mechanical gaits of suspects, which are imprinted into the earthy medium of a crime scene. For film makers, the ‘print’ may refer to a photochemical polyester reproduction of a motion picture artifact (the reel of ‘celluloid’), or a DVD laser disc impression of the same film. Textualist discourse has borrowed the word ‘print’ to mean ‘text’, so ‘print’ may also refer to the text elements within the vision track of a motion picture: the film’s opening titles, or texts photographed inside the motion picture story such as the sword-cut ‘Z’ in Zorro (Niblo). Before the invention of writing, the main mechanically reproduced impression of a cultural symbol in a medium was the humble footprint in the sand. The footprints of tribes – and neighbouring animals – cut tracks in the vegetation and the soil. Printed tracks led towards food, water, shelter, enemies and friends. Having learnt to pattern certain faces into their mental world, children grew older and were educated in the footprints of family and clan, enemies and food. The continuous impression of significant foot traffic in the medium of the earth produced the lines between significant nodes of prewriting and pre-wheeled cultures. These tracks were married to audio tracks, such as the song lines of the Australian Aborigines, or the ballads of tramping culture everywhere. A typical tramping song has the line, ‘There’s a track winding back to an old-fashion shack along the road to Gundagai,’ (O’Hagan), although this colonial-style song was actually written for radio and became an international hit on the airwaves, rather than the tramping trails. The printed tracks impressed by these cultural flows are highly contested and diverse, and their foot prints are woven into our very language. The names for printed tracks have entered our shared memory from the intersection of many cultures: ‘Track’ is a Germanic word entering English usage comparatively late (1470) and now used mainly in audio visual cultural reproduction, as in ‘soundtrack’. ‘Trek’ is a Dutch word for ‘track’ now used mainly by ecotourists and science fiction fans. ‘Learn’ is a Proto-Indo-European word: the verb ‘learn’ originally meant ‘to find a track’ back in the days when ‘learn’ had a noun form which meant ‘the sole of the foot’. ‘Tract’ and ‘trace’ are Latin words entering English print usage before 1374 and now used mainly in religious, and electronic surveillance, cultural reproduction. ‘Trench’ in 1386 was a French path cut through a forest. ‘Sagacity’ in English print in 1548 was originally the ability to track or hunt, in Proto-Indo-European cultures. ‘Career’ (in English before 1534) was the print made by chariots in ancient Rome. ‘Sleuth’ (1200) was a Norse noun for a track. ‘Investigation’ (1436) was Latin for studying a footprint (Harper). The arrival of symbolic writing scratched on caves, hearth stones, and trees (the original meaning of ‘book’ is tree), brought extremely limited text education close to home. Then, with baked clay tablets, incised boards, slate, bamboo, tortoise shell, cast metal, bark cloth, textiles, vellum, and – later – paper, a portability came to text that allowed any culture to venture away from known ‘foot’ paths with a reduction in the risk of becoming lost and perishing. So began the world of maps, memos, bills of sale, philosophic treatises and epic mythologies. Some of this was printed, such as the mechanical reproduction of coins, but the fine handwriting required of long, extended, portable texts could not be printed until the invention of paper in China about 2000 years ago. Compared to lithic architecture and genes, portable text is a fragile medium, and little survives from the millennia of its innovators. The printing of large non-text designs onto bark-paper and textiles began in neolithic times, but Sui Wen-ti’s imperial memo of 593 AD gives us the earliest written date for printed books, although we can assume they had been published for many years previously. The printed book was a combination of Indian philosophic thought, wood carving, ink chemistry and Chinese paper. The earliest surviving fragment of paper-print technology is ‘Mantras of the Dharani Sutra’, a Buddhist scripture written in the Sanskrit language of the Indian subcontinent, unearthed at an early Tang Dynasty site in Xian, China – making the fragment a veteran piece of printing, in the sense that Sanskrit books had been in print for at least a century by the early Tang Dynasty (Chinese Graphic Arts Net). At first, paper books were printed with page-size carved wooden boards. Five hundred years later, Pi Sheng (c.1041) baked individual reusable ceramic characters in a fire and invented the durable moveable type of modern printing (Silk Road 2000). Abandoning carved wooden tablets, the ‘digitizing’ of Chinese moveable type sped up the production of printed texts. In turn, Pi Sheng’s flexible, rapid, sustainable printing process expanded the political-cultural impact of the literati in Asian society. Digitized block text on paper produced a bureaucratic, literate elite so powerful in Asia that Louis XVI of France copied China’s print-based Confucian system of political authority for his own empire, and so began the rise of the examined public university systems, and the civil service systems, of most European states (Watson, Visions). By reason of its durability, its rapid mechanical reproduction, its culturally agreed signs, literate readership, revered authorship, shared ideology, and distributed portability, a ‘print’ can be a powerful cultural network which builds and expands empires. But print also attacks and destroys empires. A case in point is the Spanish conquest of Aztec America: The Aztecs had immense libraries of American literature on bark-cloth scrolls, a technology which predated paper. These libraries were wiped out by the invading Spanish, who carried a different book before them (Ewins). In the industrial age, the printing press and the gun were seen as the weapons of rebellions everywhere. In 1776, American rebels staffed their ‘Homeland Security’ units with paper makers, knowing that defeating the English would be based on printed and written documents (Hahn). Mao Zedong was a book librarian; Mao said political power came out of the barrel of a gun, but Mao himself came out of a library. With the spread of wireless networked servers, political ferment comes out of the barrel of the cell phone and the internet chat room these days. Witness the cell phone displays of a plane hitting a tower that appear immediately after 9/11 in the Middle East, or witness the show trials of a few US and UK lower ranks who published prints of their torturing activities onto the internet: only lower ranks who published prints were arrested or tried. The control of secure servers and satellites is the new press. These days, we live in a global library of burning books – ‘burning’ in the sense that ‘print’ is now a charged silicon medium (Smith, “Intel”) which is usually made readable by connecting the chip to nuclear reactors and petrochemically-fired power stations. World resources burn as we read our screens. Men, women, children burn too, as we watch our infotainment news in comfort while ‘their’ flickering dead faces are printed in our broadcast hearths. The print we watch is not the living; it is the voodoo of the living in the blackout behind the camera, engaging the blood sacrifice of the tormented and the unfortunate. Internet texts are also ‘on fire’ in the third sense of their fragility and instability as a medium: data bases regularly ‘print’ fail-safe copies in an attempt to postpone the inevitable mechanical, chemical and electrical failure that awaits all electronic media in time. Print defines a moral position for everyone. In reporting conflict, in deciding to go to press or censor, any ‘print’ cannot avoid an ethical context, starting with the fact that there is a difference in power between print maker, armed perpetrators, the weak, the peaceful, the publisher, and the viewer. So many human factors attend a text, video or voice ‘print’: its very existence as an aesthetic object, even before publication and reception, speaks of unbalanced, and therefore dynamic, power relationships. For example, Graham Greene departed unscathed from all the highly dangerous battlefields he entered as a novelist: Riot-torn Germany, London Blitz, Belgian Congo, Voodoo Haiti, Vietnam, Panama, Reagan’s Washington, and mafia Europe. His texts are peopled with the injustices of the less fortunate of the twentieth century, while he himself was a member of the fortunate (if not happy) elite, as is anyone today who has the luxury of time to read Greene’s works for pleasure. Ethically a member of London and Paris’ colonizers, Greene’s best writing still electrifies, perhaps partly because he was in the same line of fire as the victims he shared bread with. In fact, Greene hoped daily that he would escape from the dreadful conflicts he fictionalized via a body bag or an urn of ashes (see Sherry). In reading an author’s biography we have one window on the ethical dimensions of authority and print. If a print’s aesthetics are sometimes enduring, its ethical relationships are always mutable. Take the stylized logo of a running athlete: four limbs bent in a rotation of action. This dynamic icon has symbolized ‘good health’ in Hindu and Buddhist culture, from Madras to Tokyo, for thousands of years. The cross of bent limbs was borrowed for the militarized health programs of 1930s Germany, and, because of what was only a brief, recent, isolated yet monstrously horrific segment of its history in print, the bent-limbed swastika is now a vilified symbol in the West. The sign remains ‘impressed’ differently on traditional Eastern culture, and without the taint of Nazism. Dramatic prints are emotionally charged because, in depicting Homo sapiens in danger, or passionately in love, they elicit a hormonal reaction from the reader, the viewer, or the audience. The type of emotions triggered by a print vary across the whole gamut of human chemistry. A recent study of three genres of motion picture prints shows a marked differences in the hormonal responses of men compared to women when viewing a romance, an actioner, and a documentary (see Schultheiss, Wirth, and Stanton). Society is biochemically diverse in its engagement with printed culture, which raises questions about equality in the arts. Motion picture prints probably comprise around one third of internet traffic, in the form of stolen digitized movie files pirated across the globe via peer-to-peer file transfer networks (p2p), and burnt as DVD laser prints (BBC). There is also a US 40 billion dollar per annum legitimate commerce in DVD laser pressings (Grassl), which would suggest an US 80 billion per annum world total in legitimate laser disc print culture. The actively screen literate, or the ‘sliterati’ as I prefer to call them, research this world of motion picture prints via their peers, their internet information channels, their television programming, and their web forums. Most of this activity occurs outside the ambit of universities and schools. One large site of sliterate (screen literate) practice outside most schooling and official research is the net of online forums at imdb.com (International Movie Data Base). Imdb.com ‘prints’ about 25,000,000 top pages per month to client browsers. Hundreds of sliterati forums are located at imdb, including a forum for the Australian movie, Muriel’s Wedding (Hogan). Ten years after the release of Muriel’s Wedding, young people who are concerned with victimization and bullying still log on to http://us.imdb.com/title/tt0110598/board/> and put their thoughts into print: I still feel so bad for Muriel in the beginning of the movie, when the girls ‘dump’ her, and how much the poor girl cried and cried! Those girls were such biartches…I love how they got their comeuppance! bunniesormaybemidgets’s comment is typical of the current discussion. Muriel’s Wedding was a very popular film in its first cinema edition in Australia and elsewhere. About 30% of the entire over-14 Australian population went to see this photochemical polyester print in the cinemas on its first release. A decade on, the distributors printed a DVD laser disc edition. The story concerns Muriel (played by Toni Collette), the unemployed daughter of a corrupt, ‘police state’ politician. Muriel is bullied by her peers and she withdraws into a fantasy world, deluding herself that a white wedding will rescue her from the torments of her blighted life. Through theft and deceit (the modus operandi of her father) Muriel escapes to the entertainment industry and finds a ‘wicked’ girlfriend mentor. From a rebellious position of stubborn independence, Muriel plays out her fantasy. She gets her white wedding, before seeing both her father and her new married life as hollow shams which have goaded her abandoned mother to suicide. Redefining her life as a ‘game’ and assuming responsibility for her independence, Muriel turns her back on the mainstream, image-conscious, female gang of her oppressed youth. Muriel leaves the story, having rekindled her friendship with her rebel mentor. My methodological approach to viewing the laser disc print was to first make a more accessible, coded record of the entire movie. I was able to code and record the print in real time, using a new metalanguage (Watson, “Eyes”). The advantage of Coding is that ‘thinks’ the same way as film making, it does not sidetrack the analyst into prose. The Code splits the movie print into Vision Action [vision graphic elements, including text] (sound) The Coding splits the vision track into normal action and graphic elements, such as text, so this Coding is an ideal method for extracting all the text elements of a film in real time. After playing the film once, I had four and a half tightly packed pages of the coded story, including all its text elements in square brackets. Being a unique, indexed hard copy, the Coded copy allowed me immediate access to any point of the Muriel’s Wedding saga without having to search the DVD laser print. How are ‘print’ elements used in Muriel’s Wedding? Firstly, a rose-coloured monoprint of Muriel Heslop’s smiling face stares enigmatically from the plastic surface of the DVD picture disc. The print is a still photo captured from her smile as she walked down the aisle of her white wedding. In this print, Toni Collette is the Mona Lisa of Australian culture, except that fans of Muriel’s Wedding know the meaning of that smile is a magical combination of the actor’s art: the smile is both the flush of dreams come true and the frightening self deception that will kill her mother. Inserting and playing the disc, the text-dominant menu appears, and the film commences with the text-dominant opening titles. Text and titles confer a legitimacy on a work, whether it is a trade mark of the laser print owners, or the household names of stars. Text titles confer status relationships on both the presenters of the cultural artifact and the viewer who has entered into a legal license agreement with the owners of the movie. A title makes us comfortable, because the mind always seeks to name the unfamiliar, and a set of text titles does that job for us so that we can navigate the ‘tracks’ and settle into our engagement with the unfamiliar. The apparent ‘truth’ and ‘stability’ of printed text calms our fears and beguiles our uncertainties. Muriel attends the white wedding of a school bully bride, wearing a leopard print dress she has stolen. Muriel’s spotted wild animal print contrasts with the pure white handmade dress of the bride. In Muriel’s leopard textile print, we have the wild, rebellious, impoverished, inappropriate intrusion into the social ritual and fantasy of her high-status tormentor. An off-duty store detective recognizes the printed dress and calls the police. The police are themselves distinguished by their blue-and-white checked prints and other mechanically reproduced impressions of cultural symbols: in steel, brass, embroidery, leather and plastics. Muriel is driven in the police car past the stenciled town sign (‘Welcome To Porpoise Spit’ heads a paragraph of small print). She is delivered to her father, a politician who presides over the policing of his town. In a state where the judiciary, police and executive are hijacked by the same tyrant, Muriel’s father, Bill, pays off the police constables with a carton of legal drugs (beer) and Muriel must face her father’s wrath, which he proceeds to transfer to his detested wife. Like his daughter, the father also wears a spotted brown print costume, but his is a batik print from neighbouring Indonesia (incidentally, in a nation that takes the political status of its batik prints very seriously). Bill demands that Muriel find the receipt for the leopard print dress she claims she has purchased. The legitimate ownership of the object is enmeshed with a printed receipt, the printed evidence of trade. The law (and the paramilitary power behind the law) are legitimized, or contested, by the presence or absence of printed text. Muriel hides in her bedroom, surround by poster prints of the pop group ABBA. Torn-out prints of other people’s weddings adorn her mirror. Her face is embossed with the clown-like primary colours of the marionette as she lifts a bouquet to her chin and stares into the real time ‘print’ of her mirror image. Bill takes the opportunity of a business meeting with Japanese investors to feed his entire family at ‘Charlie Chan’’s restaurant. Muriel’s middle sister sloppily wears her father’s state election tee shirt, printed with the text: ‘Vote 1, Bill Heslop. You can’t stop progress.’ The text sets up two ironic gags that are paid off on the dialogue track: “He lost,’ we are told. ‘Progress’ turns out to be funding the concreting of a beach. Bill berates his daughter Muriel: she has no chance of becoming a printer’s apprentice and she has failed a typing course. Her dysfunction in printed text has been covered up by Bill: he has bribed the typing teacher to issue a printed diploma to his daughter. In the gambling saloon of the club, under the arrays of mechanically repeated cultural symbols lit above the poker machines (‘A’ for ace, ‘Q’ for queen, etc.), Bill’s secret girlfriend Diedre risks giving Muriel a cosmetics job. Another text icon in lights announces the surf nightclub ‘Breakers’. Tania, the newly married queen bitch who has made Muriel’s teenage years a living hell, breaks up with her husband, deciding to cash in his negotiable text documents – his Bali honeymoon tickets – and go on an island holiday with her girlfriends instead. Text documents are the enduring site of agreements between people and also the site of mutations to those agreements. Tania dumps Muriel, who sobs and sobs. Sobs are a mechanical, percussive reproduction impressed on the sound track. Returning home, we discover that Muriel’s older brother has failed a printed test and been rejected for police recruitment. There is a high incidence of print illiteracy in the Heslop family. Mrs Heslop (Jeannie Drynan), for instance, regularly has trouble at the post office. Muriel sees a chance to escape the oppression of her family by tricking her mother into giving her a blank cheque. Here is the confluence of the legitimacy of a bank’s printed negotiable document with the risk and freedom of a blank space for rebel Muriel’s handwriting. Unable to type, her handwriting has the power to steal every cent of her father’s savings. She leaves home and spends the family’s savings at an island resort. On the island, the text print-challenged Muriel dances to a recording (sound print) of ABBA, her hand gestures emphasizing her bewigged face, which is made up in an impression of her pop idol. Her imitation of her goddesses – the ABBA women, her only hope in a real world of people who hate or avoid her – is accompanied by her goddesses’ voices singing: ‘the mystery book on the shelf is always repeating itself.’ Before jpeg and gif image downloads, we had postcard prints and snail mail. Muriel sends a postcard to her family, lying about her ‘success’ in the cosmetics business. The printed missal is clutched by her father Bill (Bill Hunter), who proclaims about his daughter, ‘you can’t type but you really impress me’. Meanwhile, on Hibiscus Island, Muriel lies under a moonlit palm tree with her newly found mentor, ‘bad girl’ Ronda (Rachel Griffiths). In this critical scene, where foolish Muriel opens her heart’s yearnings to a confidante she can finally trust, the director and DP have chosen to shoot a flat, high contrast blue filtered image. The visual result is very much like the semiabstract Japanese Ukiyo-e woodblock prints by Utamaro. This Japanese printing style informed the rise of European modern painting (Monet, Van Gogh, Picasso, etc., were all important collectors and students of Ukiyo-e prints). The above print and text elements in Muriel’s Wedding take us 27 minutes into her story, as recorded on a single page of real-time handwritten Coding. Although not discussed here, the Coding recorded the complete film – a total of 106 minutes of text elements and main graphic elements – as four pages of Code. Referring to this Coding some weeks after it was made, I looked up the final code on page four: taxi [food of the sea] bq. Translation: a shop sign whizzes past in the film’s background, as Muriel and Ronda leave Porpoise Spit in a taxi. Over their heads the text ‘Food Of The Sea’ flashes. We are reminded that Muriel and Ronda are mermaids, fantastic creatures sprung from the brow of author PJ Hogan, and illuminated even today in the pantheon of women’s coming-of-age art works. That the movie is relevant ten years on is evidenced by the current usage of the Muriel’s Wedding online forum, an intersection of wider discussions by sliterate women on imdb.com who, like Muriel, are observers (and in some cases victims) of horrific pressure from ambitious female gangs and bullies. Text is always a minor element in a motion picture (unless it is a subtitled foreign film) and text usually whizzes by subliminally while viewing a film. By Coding the work for [text], all the text nuances made by the film makers come to light. While I have viewed Muriel’s Wedding on many occasions, it has only been in Coding it specifically for text that I have noticed that Muriel is a representative of that vast class of talented youth who are discriminated against by print (as in text) educators who cannot offer her a life-affirming identity in the English classroom. Severely depressed at school, and failing to type or get a printer’s apprenticeship, Muriel finds paid work (and hence, freedom, life, identity, independence) working in her audio visual printed medium of choice: a video store in a new city. Muriel found a sliterate admirer at the video store but she later dumped him for her fantasy man, before leaving him too. One of the points of conjecture on the imdb Muriel’s Wedding site is, did Muriel (in the unwritten future) get back together with admirer Brice Nobes? That we will never know. While a print forms a track that tells us where culture has been, a print cannot be the future, a print is never animate reality. At the end of any trail of prints, one must lift one’s head from the last impression, and negotiate satisfaction in the happening world. References Australian Broadcasting Corporation. “Memo Shows US General Approved Interrogations.” 30 Mar. 2005 http://www.abc.net.au>. 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Muriel’s Wedding. Dir. PJ Hogan. Perf. Toni Collette, Rachel Griffiths, Bill Hunter, and Jeannie Drynan. Village Roadshow, 1994. O’Hagan, Jack. On The Road to Gundagai. 1922. 2 Apr. 2005 http://ingeb.org/songs/roadtogu.html>. Poole, J.H., P.L. Tyack, A.S. Stoeger-Horwath, and S. Watwood. “Animal Behaviour: Elephants Are Capable of Vocal Learning.” Nature 24 Mar. 2005. Sanchez, R. “Interrogation and Counter-Resistance Policy.” 14 Sept. 2003. 30 Mar. 2005 http://www.abc.net.au>. Schultheiss, O.C., M.M. Wirth, and S.J. Stanton. “Effects of Affiliation and Power Motivation Arousal on Salivary Progesterone and Testosterone.” Hormones and Behavior 46 (2005). Sherry, N. The Life of Graham Greene. 3 vols. London: Jonathan Cape 2004, 1994, 1989. Silk Road. Printing. 2000. 20 Feb. 2005 http://www.silk-road.com/artl/printing.shtml>. Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. Watson, R. S. “Eyes And Ears: Dramatic Memory Slicing and Salable Media Content.” Innovation and Speculation, ed. Brad Haseman. Brisbane: QUT. [in press] Watson, R. S. Visions. Melbourne: Curriculum Corporation, 1994. Citation reference for this article MLA Style Watson, Robert. "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/08-watson.php>. APA Style Watson, R. (Jun. 2005) "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/08-watson.php>.