Journal articles: 'Pre-service music educators' – Grafiati (2024)

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The purpose of this investigation was to acquire a better understanding of the decision-making process of Thai pre-service music education students and their expectations of their post-graduation professional activities. Demographic data was gathered as well as self-reported participant influences regarding choosing to major in music education. A free response question sought participants’ perception of their role as a music educator in their community. Results tended to mirror those of previous research. Emergent themes from the free response question included teacher behaviors, teacher traits, and student outcomes. These data may help to provide a better understanding of the pre-service music educators’ influences to become music educators, and their post-graduation expectations, as well as providing important information that may lead to possible revisions in current music education curricula in Thailand. Immediate and future relevance of the data and areas for further research were discussed.

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Australia is a culturally diverse nation. The Arts provide a pathway that contributes to the rich tapestry of its people. Tertiary music educators have the responsibility to provide opportunities to effectively prepare and engage pre-service teachers in becoming culturally responsive. The authors discuss the importance and need to include guest music educators as culture bearers when preparing pre-service teachers to teach multicultural music. Drawing on data from student questionnaires, author participant observation and reflective practice in 2014, the findings highlight the experiences and practical engagement of an African music workshop in teacher education courses. Generalisations cannot be made, however, the findings revealed the need, importance and benefits of incorporating guest music educators as culture bearers who have the knowledge, skills and understandings to contribute to multicultural music education. This experience may be similar to other educational settings and it is hoped that the findings may provide a platform for further dialogue in other teaching and learning areas.

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In recent decades, music educators have become increasingly aware of the English Language Learner (ELL) population due to mainstreaming and inclusion policies. Meanwhile, the need for adequately preparing pre-service music teachers has become a focal point for music teacher preparation programs in the United States. In this article, I will 1) discuss the importance of developing pre-service music teachers’ empathy for ELL students; 2) offer suggestions for developing empathic pre-service music teachers; and 3) describe how a classroom cultural immersion experience can help pre-service music teachers to develop their empathy as well as increase their awareness of effective teaching strategies for ELL students. Through a short-term classroom cultural immersion experience, pre-service music teachers in the U.S. learned what it was like to be an ELL; as a result of their experience, they became more culturally and linguistically responsive. They deepened their level of empathy for ELLs, and expanded their knowledge base of techniques for effective music teaching.

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Few large-scale studies have examined how prepared early childhood educators feel to teach music and movement to young children. This paper is part of a survey study conducted with 1,019 Hong Kong kindergarten teachers. We investigated their prior music and movement educational experiences (extracurricular activities, pre-service courses, in-service professional development), their perceived usefulness of such experiences, as well as their perceived confidence and readiness to teach music and movement in kindergartens. Differences according to teaching experience and educational qualifications were analyzed. Findings reveal the need to strengthen teachers’ preparation in music and movement, especially among beginning educators. Limitations are discussed.

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Scholars theorizing in the area of social justice and music education argue that music has the potential to prepare students to engage in a society that cultivates personal freedom and democratic participation. The continued reliance on values and practices of Western art music within music teacher education has resulted in a disconnect between this discourse and professional practice. The status quo perpetuates conditions that limit accessibility, privilege western art music and maintain whiteness as ‘normal’. In this article, I suggest that this disconnection can be addressed by introducing culturally relevant pedagogy within music education training programmes. Culturally relevant pedagogy, focusing on reflexive practice and place-based education, requires pre-service music educators to think deeply about experiences of marginalized music education students and critically examine the values and beliefs they hold. Embedding the values of culturally relevant pedagogy within music education training creates space for music from different cultural contexts including popular music.

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Guitar education has emerged as a discipline in K-12 institutions alongside ‘traditional’ music education such as band, orchestra and chorus in recent decades. Despite the substantial body of literature containing practical advice on teaching guitar, research-supported scholarship is lacking. The purpose of this study was to provide an evidentiary-based understanding of the professional profiles of guitar educators. A large sample (n = 1269) of guitar educators participated in the Guitar Educator Questionnaire (GEQ). Findings from the GEQ suggest a low per cent (7.9%) of music educators who teach guitar class consider themselves to be ‘guitar specialists’. A substantial number of respondents (68.5%) indicated that they rarely or never participated in guitar-related professional development, and 76.1% of respondents reported that their pre-service training provided little or no preparation for a career in guitar education.

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The purpose of this case study was to explore one elementary music teacher’s beliefs about the nature of musical ability and the ways in which these beliefs relate to actions and lived experiences in the classroom. Data included extensive classroom observations documented through fieldnotes and video footage, semi-structured interviews, teacher journal entries, teaching artifacts, and researcher memos. Three themes emerged from the data: (a) enabling success for all; (b) power of the learning environment; and (c) encouraging lifelong engagement with music. The findings of this study suggest that music educators’ beliefs about students’ musical abilities relate to their actions in the music classroom, their interactions with students, and their beliefs about the purpose of music education. Music educators should reflect on their beliefs, the ways in which they relate to teaching practice, and the impact they may have on students’ musical achievement and musical identity development. Additionally, music teacher educators should consider the role they might play in helping pre-service as well as in-service music teachers examine and possibly reshape their beliefs about music teaching and learning.

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The significant increase in online teaching during the COVID-19 pandemic has created a heightened need for educators to implement teaching methods which do not rely solely on “face-to-face” learning within the same physical space. Blended Learning (BL) is one such approach, allowing for flexibility in the delivery of a class and constant access to unit materials. This paper reports on an investigation, by two Australian Pre-service Teacher (PST) educators, of their students’ understanding of BL at the beginning and end of a BL music method unit. Data were collected for three consecutive years with three separate cohorts. Findings indicated that the majority of the participants began the unit with little to no understanding of BL. This improved considerably through direct BL experience, with some exceptions. The implications for the development of flexible and responsive PST education in the current and post pandemic education environment are considered.

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The purpose of this research was to examine LGBTQ-inclusive strategies used by practicing music educators in the United States. Participants ( N = 300) in a nonprobabilistic sample completed a survey inquiring as to their comfort using LGBTQ-inclusive strategies in a school music class, their perceptions of barriers to LGBTQ inclusion, and whether they had received training related to LGBTQ issues. Self-identified heterosexual respondents were requested to complete an additional set of questions to determine their attitudes toward lesbians and gay men. Additional questions were used to capture demographic data including (1) years of teaching experience, (2) school and community types, and (3) racial, ethnic, gender, and sexual identity. Results revealed that respondents self-identifying as heterosexual generally held positive attitudes toward lesbians and gay men. Results suggest that music teacher participants in this study were aware of heterosexist language in their learning environments and likely to discourage this type of classroom behavior. Overall, respondents appeared not to be worried about the various stakeholders (administrators, parents, and colleagues) in their educational environment. The majority of music teachers surveyed indicated that they received no pre-service training (91.3%, n = 274) and no in-service training (87.3%, n = 262) relevant to LGBTQ inclusion. Respondents who had received in-service training, however, were more comfortable discussing LGTBQ issues in their classrooms and promoting LGBTQ awareness in their schools. Findings from this study suggest that in-service professional development related to LGBTQ issues may increase the use of LGBTQ-inclusive strategies used in music classrooms.

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Tertiary music educators are faced with challenges associated with the enactment of curricula in pre-service education courses within time constraints. As a result, considered choices need to be made regarding content and pedagogical approaches based on what they deem to be valuable, memorable and transferrable. Using narrative methodology, two tertiary educators across the Tasman share their views about what they prioritise in their music education courses and how these choices are informed. Both authors face similar challenges, and share the view that the teaching of music goes far beyond entertainment. They uphold that music education provides a rich context to develop not only knowledge, skills and understandings about music itself, but also to address social, cultural, linguistic, cognitive and affective domains of learning, to name a few. This article looks at some of the ways the authors effectively support beginner teachers to address the music components of their respective national curriculum statements. While constraints of time in teacher education programmes is not a new phenomenon, the intention of this article is to highlight the benefits of music education, and encourage other educators to critically reflect on choices made in their own teaching contexts under challenging constraints.

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Abstract The purpose of this study was to examine the perceptions of two third-year instrumental music teachers concerning their early career development of successful rehearsal techniques. Participants were observed over the course of three days in their classroom environment and posed questions based upon the rehearsal techniques they incorporated into their instruction. Triangulation was achieved through interviews of both participants regarding the same subject matter, as well as interviews with the instrumental music teachers that work alongside the participants on a daily basis (in-house colleagues). Both participants credited their in-house colleague and reflection-on-action as the two most influential elements found within their teaching setting. Through those influences, the participants cited their development in regard to planning, pacing, repertoire selection, and classroom management. Regarding influential factors pursued outside of their teaching responsibilities, both participants identified their community colleagues as well as the act of recording of their own rehearsals as most beneficial to their development. The results of this study reinforce the need for early teaching experiences in combination with the acquisition of teaching techniques in pre-service music education methods courses. Experiences in pre-service instruction that facilitate reflection-on-action may also benefit early career music educators in their rehearsal technique development.

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The purpose of this study was to examine the impact of disability simulations on the attitudes of individuals who will be working with children with special needs in music settings and to compare these attitudes between student music therapists and pre-service music educators. Each participant completed a questionnaire on the first day of class and again after participating in a disability simulation approximately two weeks later. The disabilities simulated included an individual with a one-arm amputation, an individual requiring mobility in a wheelchair due to paralysis, an individual with a hearing impairment, and an individual with a visual impairment. Results indicated that participants had more positive attitudes after experiencing the simulation although there was no difference between majors (music therapy or music education). Results also indicated that attitudes showed a greater shift when statements on the questionnaire were stated negatively rather than positively. Limitations and implications for future studies were discussed.

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Introduction. In the modern educational space of each state, music education plays an essential role in the upbringing of the rising generation. The national musical culture of Ancient China, as well as some aspects of musical education organization in the Pre-Qin period, have served as the primary basis in the sphere of modernization and improvement of the modern musical education system in this country. The aim of this article is to summarize some theoretical aspects of the organization of music education in ancient China – in the Pre-Qin period (8500–221 BC). Materials and methods. The generalized materials of researchers' works reveal the practice of “early” musical education in Ancient China, expressing the interests of this or that ruling dynasty (from the primitive society, where the Chinese national musical culture had originated, up to the Qin dynasty). Representing an important historical epoch, the Pre-Qin period reflects the time of the formation of a unique system of organization of traditional music education in China. Each era that is part of the Pre-Qin period has its own distinctive features and cultural and historical characteristics. Results. In the course of summarizing certain theoretical aspects of the organization of music education in the Pre-Qin period, the names of four epochs were specified, as well as the peculiarities of the organization of general and music education in ancient China. Thus, the first era “Chinese music education in primitive society” (or) “Prehistoric China” (8500–2070 BC) is conventionally considered a time of origin of music education; a period of formation of genres of Chinese folk music culture, based on myths, religion, legends, and customs of ancient China. The second era, “Chinese Music Education in the Xia and Shang Dynasties” or “Bronze Age” (2070–1046 BC), is characterized by the appearance of the first musical instruments; the transformation of the functions of music education – from religious service to entertainment; the consolidation of the name “court music and dance education”; the appearance of the first specialized educational institutions and “special” music teachers. Music education in the third era “Chinese music education in the Western Zhou Dynasty” (1046–771 BC) had the name “rites and music education”; distinguished by the appearance of the first musical performance groups; the training of “professional personnel” in music education. The peculiarity of the fourth epoch “Chinese music education in the Spring and Autumn Era and the Age of Fighting Kingdoms” (770–221 BC) is the modernization and improvement of forms, methods, and means of music education; production of musical instruments; wide practice of performing schools and educational activities of Chinese thinkers, politicians, and educators; and availability of music education to various strata of the population. Conclusion. This study allows arguing that the Pre-Qin period is the initial stage in the formation of music education in ancient China. Moreover, it also can be considered one of the most important times in a historical retrospective – the active development of the Chinese music education system.

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Music curriculum courses for generalist primary and early childhood teacher education students have tended traditionally to be heavily skill-intensive and instruction-based and reflective of the pedagogical methods of prominent music educators. In such learning experiences emphasis is generally placed upon the acquisition of skills dealing with notational and historical precedents and the development of some expertise in the areas of singing, playing and listening. Whilst these experiences provide students with valuable insights into traditional music education pedagogy, students who have a limited formal knowledge of music and who do not consider themselves to be musically articulate or literate frequently find such experiences alienating. Furthermore the teaching practices modelled through such programs tend to conflict with those advocated in other curriculum areas.In an attempt to redress this situation an action research study was undertaken in which compulsory music curriculum units for generalist primary and early childhood teacher education students were re-developed to place compositional experience at the heart of the music education enterprise. In developing a theoretical and philosophical base for the pre-service music education units a number of educational strategies common in other curriculum areas were examined and adapted for use in the music education classroom.Qualitative evaluation of the units has indicated that participating students whilst developing skills and knowledge in music and understanding of a range of teaching and learning strategies also perceive themselves to be more capable and confident as musicians.

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Establishing strong connections between universities within initial teacher education (ITE) programs not only takes time, but it also presents opportunities and challenges. Tertiary music educators are called to prepare ITE students/pre-service teachers to be culturally responsive. This article forms part of our wider study “See, Listen and Share: Exploring Intercultural Music Education in a Transnational Experience Across Three Universities (Royal Melbourne Institute of Technology University, Australia; Deakin University, Australia; and Universitat Jaume I of Castelló, Spain). For this article, we draw on student web survey data, anecdotal feedback, and our reflections. We employ Interpretative Phenomenological Analysis as a tool to thematically group our surveys into three broad overarching themes to inform our findings and discussions. We argue that music education is an effective vehicle for exploring culture and diversity through song. Our findings show that our ITE students built positive attitudes about using songs in their generalist primary and early childhood classrooms. They also recognized the importance of collaborative sharing using face-to-face and Skype. This project proved a worthy experience for all concerned, it formed a rich part of our professional learning. We encourage others to consider the approach as one way to promote multicultural music and cultural diversity within ITE programs and across other educational settings.

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IntroductionA growing number of children and young people are surviving severe acquired brain injuries due to advances in healthcare. However, many fail to emerge from coma and continue to live with disorders of consciousness (DOC). Diagnostic, clinical and ethical challenges are prominent in this group. Misdiagnosis can have severe consequences for children and their families, including inadequate care, insufficient access to rehabilitation and stimulation, reduced accessibility to services and inappropriately limited opportunities for participation. The proposed project will develop and validate a diagnostic measure that supports detailed goal-planning—the Music therapy Sensory Instrument for Cognition, Consciousness and Awareness (MuSICCA).Methods and analysisFace validity will be assessed using a short questionnaire and the MuSICCA will be amended if face validity is insufficient. Once face validity is sufficient, 80 participants with suspected DOC will be recruited from multiple sites around the UK, USA and Ireland.Validity will be assessed using external reference standards (Coma Recovery Scale-Revised, Coma Near-Coma Scale and Nociception Coma Scale). Intra-rater reliability will be established using repeated ratings of video recordings from the assessment sessions. Inter-rater reliability will be assessed through video ratings by a second blinded assessor. In addition to these analyses, the clinical utility of the MuSICCA will be evaluated using a questionnaire to be completed by clinicians and relatives of the participants following the completion of the MuSICCA assessment.Ethics and disseminationEthical approval has been obtained for this study from the Research Ethics Committee and Health Research Authority of the National Health Service of the UK (ID: 167534). Results will be presented at national and international conferences, published in scientific journals and disseminated to participant representatives, clinicians, educators and care providers.Trial registration detailsThis study was registered at ClinicalTrials.gov Protocol Registration and Results System on 7th August 2019 (ID: NCT04050995); Pre-results.

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In recent years, STEAM (Science, Technology, Engineering, Art, and Mathematics) has received wide attention. STEAM complements early childhood learning needs in honing 2nd century skills. This study aims to introduce a loose section in early childhood learning to pre-service teachers and then to explore their perceptions of how to use loose parts in supporting STEAM. The study design uses qualitative phenomenological methods. FGDs (Focus Group Discussions) are used as data collection instruments. The findings point to two main themes that emerged from the discussion: a loose section that supports freedom of creation and problem solving. Freedom clearly supports science, mathematics and arts education while problem solving significantly supports engineering and technology education. Keywords: Early Childhood Educators, Loose-part, STEAM References: Allen, A. (2016). Don’t Fear STEM: You Already Teach It! Exchange, (231), 56–59. Ansberry, B. K., & Morgan, E. (2019). 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This research examines the pedagogical practices of a self-taught musician who teaches music at an elementary school in Canada. Research on the ways that popular musicians teach has shown that many teachers use a combination of informal and formalized structures. We used Personhood theory as a conceptual framework to illuminate how the context and disposition of the musician–teacher informs their pedagogy. These findings demonstrate how context and disposition inform pedagogical practices and the ways that the teacher’s personhood contributes to students’ learning. We collected data through interviews with the teacher and school principal, distributed questionnaires to students and observed performances. Findings show that one’s personhood can contribute to the medium, message and messenger within a music education setting. Personhood theory helps frame the nested nature of these relationships and these findings point to the need to support development of in-service and pre-service teachers’ personhood.

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Teacher's abilities to understand the benefits and use of media literacy play an important role in dealing with children as digital natives. Media literacy education can be an instrument through the use of blended-learning websites to address the challenges of education in the 21st century and learning solutions during and after the Covid-19 pandemic. This study aims to figure the teacher's perspective in understanding media literacy as an instrument for implementing blended-learning in early-childhood classes. Using a qualitative approach, this study combines two types of data. Data collection involved kindergarten teachers, six people as informants who attended the interviews and twenty-six participants who filled out questionnaires. Typological data analysis was used for qualitative data as well as simple statistical analysis to calculate the percentage of teacher perspectives on questionnaires collected the pandemic. The findings show five categories from the teacher's perspective. First, about the ability to carry out website-based blended-learning and the use of technology in classrooms and distance learning is still low. It must be transformed into more creative and innovative one. Encouraging teacher awareness of the importance of media literacy education for teachers as a more effective integrated learning approach, especially in rural or remote areas, to be the second finding. Third, national action is needed to change from traditional to blended-learning culture. Fourth, the high need for strong environmental support, such as related-party policies and competency training is the most important finding in this study. Finally, the need for an increase in the ease of access to technology use from all related parties, because the biggest impact of the Covid-19 pandemic is on ECE, which is closely related to the perspective of teachers on technology. The research implication demands increase in technology systems and connections between educators, parents, institutional managers, and education policy holders, for ECE services in urban areas for disadvantaged children, and all children in rural or remote areas. Keywords: Blended Learning, Early Childhood Classroom, Media Literacy Education References Aktay, S. (2009). The ISTE national educational technology standards and prospective primary school teachers in Turkey. International Journal of Learning, 16(9), 127–138. https://doi.org/10.18848/1447-9494/cgp/v16i09/46607 Arke, E. T., & Primack, B. A. (2009). Quantifying media literacy: Development, reliability, and validity of a new measure. Educational Media International, 46(1), 53–65. https://doi.org/10.1080/09523980902780958 Briquet-Duhazé, S. (2019). Websites Consulted by Future Primary Level Schoolteachers in France: Differences between Students and Trainees. American Journal of Educational Research, 7(7), 471–481. https://doi.org/10.12691/education-7-7-6 Bryan, A., & Volchenkova, K. N. (2016). Blended Learning: Definition, Models, Implications for Higher Education. Bulletin of the South Ural State University Series “Education. Education Sciences,” 8(2), 24–30. https://doi.org/10.14529/ped160204 Cappello, G. (2019). Media Literacy in I taly . The International Encyclopedia of Media Literacy, 1–6. https://doi.org/10.1002/9781118978238.ieml0155 Chan, E. Y. M. (2019). Blended learning dilemma: Teacher education in the confucian heritage culture. Australian Journal of Teacher Education, 44(1), 36–51. https://doi.org/10.14221/ajte.2018v44n1.3 Cherner, T. S., & Curry, K. (2019). Preparing Pre-Service Teachers to Teach Media Literacy: A Response to “Fake News.” Journal of Media Literacy Education, 11(1), 1–31. https://doi.org/10.23860/jmle-2019-11-1-1 Cheung, C. K., & Xu, W. (2016). Integrating Media Literacy Education into the School Curriculum in China: A Case Study of a Primary School. Media Literacy Education in China, 1–179. https://doi.org/10.1007/978-981-10-0045-4 Chou, A. Y., & Chou, D. C. (2011). Course Management Systems and Blended Learning: An Innovative Learning Approach. Decision Sciences Journal OfInnovative Education, 9(3), 463–484. https://doi.org/https://doi.org/10.1111/j.1540-4609.2011.00325.x Crawford, R. (2017). Rethinking teaching and learning pedagogy for education in the twenty-first century: blended learning in music education. Music Education Research, 19(2), 195–213. https://doi.org/10.1080/14613808.2016.1202223 de Abreu, B. (2010). Changing technology: empowering students through media literacy education. New Horizons in Education, 58(3), 26. https://files.eric.ed.gov/fulltext/EJ966657.pdf Domine, V. (2011). Building 21st-Century Teachers: An Intentional Pedagogy of Media Literacy Education. Action in Teacher Education, 33(2), 194–205. https://doi.org/10.1080/01626620.2011.569457 Friesem, E., & Friesem, Y. (2019). Media Literacy Education in the Era of Post-Truth: Paradigm Crisis. In Handbook of Research on Media Literacy Research and Applications Across Disciplines. IGI Global. Huguet, A., Kavanagh, J., Baker, G., & Blumenthal, M. (2019). Exploring Media Literacy Education as a Tool for Mitigating Truth Decay. In Exploring Media Literacy Education as a Tool for Mitigating Truth Decay. https://doi.org/10.7249/rr3050 Kalogiannakis, M., & Papadakis, S. (2019). Evaluating pre-service kindergarten teachers’ intention to adopt and use tablets into teaching practice for natural sciences. International Journal of Mobile Learning and Organisation, 13(1), 113–127. https://doi.org/10.1504/IJMLO.2019.096479 Kennedy, A. B., Schenkelberg, M., Moyer, C., Pate, R., & Saunders, R. P. (2017). Process evaluation of a preschool physical activity intervention using web-based delivery. Evaluation and Program Planning, 60, 24–36. https://doi.org/10.1016/j.evalprogplan.2016.08.022 Kupiainen, R. (2019). Media Literacy in F inland . The International Encyclopedia of Media Literacy, 1–6. https://doi.org/10.1002/9781118978238.ieml0147 Liene, V. (2016). Media Literacy as a Tool in the Agency Empowerment Process. Acta Paedagogica Vilnensia, 58–70. https://doi.org/http://dx.doi.org/10.15388/ActPaed.2016.37 Livingstone, S. (2013). Media Literacy and the Challenge of New Information and Communication Technologies. The Communication Review, 7(March), 86. https://doi.org/https://doi.org/10.1080/10714420490280152 Papadakis, S. (2018). Evaluating pre-service teachers’ acceptance of mobile devices with regards to their age and gender: A case study in Greece. International Journal of Mobile Learning and Organisation, 12(4), 336–352. https://doi.org/10.1504/IJMLO.2018.095130 Papadakis, S., & Kalogiannakis, M. (2017). Mobile educational applications for children. What educators and parents need to know. International Journal of Mobile Learning and Organisation, 11(2), 1. https://doi.org/10.1504/ijmlo.2017.10003925 Papadakis, S., Kalogiannakis, M., & Zaranis, N. (2017). Designing and creating an educational app rubric for preschool teachers. Education and Information Technologies, 22(6), 3147–3165. https://doi.org/10.1007/s10639-017-9579-0 Papadakis, S., Vaiopoulou, J., Kalogiannakis, M., & Stamovlasis, D. (2020). Developing and exploring an evaluation tool for educational apps (E.T.E.A.) targeting kindergarten children. Sustainability (Switzerland), 12(10), 1–10. https://doi.org/10.3390/su12104201 Rasheed, R. A., Kamsin, A., & Abdullah, N. A. (2020). Challenges in the online component of blended learning: A systematic review. Computers and Education, 144(March 2019), 103701. https://doi.org/10.1016/j.compedu.2019.103701 Rasi, P., Vuojärvi, H., & Ruokamo, H. (2019). Media Literacy for All Ages. Journal of Media Literacy Education, 11(2), 1–19. https://doi.org/10.23860/jmle-2019-11-2-1 Redmond, T. (2015). Media Literacy Is Common Sense: Bridging Common Core Standards with the Media Experiences of Digital Learners: Findings from a Case Study Highlight the Benefits of an Integrated Model of Literacy, Thereby Illustrating the Relevance and Accessibility of Me. Middle School Journal, 46(3), 10–17. https://doi.org/10.1080/00940771.2015.11461910 Sabirova, E. G., Fedorova, T. V., & Sandalova, N. N. (2019). Features and advantages of using websites in teaching mathematics (Interactive educational platform UCHI.ru). Eurasia Journal of Mathematics, Science and Technology Education, 15(5). https://doi.org/10.29333/ejmste/108367 Schmidt, H. C. (2019). Media Literacy in Communication Education. The International Encyclopedia of Media Literacy, 1–6. https://doi.org/10.1002/9781118978238.ieml0126 Ustun, A. B., & Tracey, M. W. (2020). An effective way of designing blended learning: A three phase design-based research approach. Education and Information Technologies, 25(3), 1529–1552. https://doi.org/10.1007/s10639-019-09999-9 Valtonen, T., Tedre, M., Mäkitalo, Ka., & Vartiainen, H. (2019). Media Literacy Education in the Age of Machine Learning. Journal of Media Literacy Education, 11(2), 20–36. https://doi.org/10.23860/jmle-2019-11-2-2 Wan, G., & Gut, D. M. (2008). Media use by Chinese and U.S. secondary students: Implications for media literacy education. Theory into Practice, 47(3), 178–185. https://doi.org/10.1080/00405840802153783 Wu, J. H., Tennyson, R. D., & Hsia, T. L. (2010). A study of student satisfaction in a blended e-learning system environment. Computers and Education, 55(1), 155–164. https://doi.org/10.1016/j.compedu.2009.12.012 Yuen, A. H. K. (2011). Exploring Teaching Approaches in Blended Learning. Research & Practice in Technology Enhanced Learning, 6(1), 3–23. https://www.researchgate.net/publication/229000574 Zhang, K., & Bonk, C. J. (2019). Addressing diverse learner preferences and intelligences with emerging technologies: Matching models to online opportunities. Canadian Journal of Learning and Technology, 53(9), 1689–1699. https://doi.org/10.1017/CBO9781107415324.004 Zhang, L., Zhang, H., & Wang, K. (2020). Media Literacy Education and Curriculum Integration: A Literature Review. International Journal of Contemporary Education, 3(1), 55. https://doi.org/10.11114/ijce.v3i1.4769

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Digital storytelling is often used in various contexts today, especially in the world of education. Many educators have followed this trend in early childhood education (ECE). This study examines the application of digital storytelling in ECE in Indonesia. Using a systematic literature review (SLR) a method, this research is a qualitative approach which is also known as a meta-synthesis. The literature reviewed was 15 articles from 56 articles that researchers found in the Google Scholar database. The results show that digital storytelling serves as an important method and medium to ensure children's learning experiences are enjoyable. In general, it is used in ECE in Indonesia through simple technology. This technology can enhance a story or fairy tale by making it more fun, interesting, communicative, and dramatic. However, the findings of this review of studies and methodological gaps have implications for ECE policy, practice, and research in Indonesia. Keywords: digital storytelling, early childhood education, storytelling trend in Indonesia References: Agosto, D. E. (2016). Why storytelling matters: Unveiling the literacy benefits of storytelling. Children and Libraries, 14(2), 21–26. Ahmad, I. F. (2022). Urgensi Literasi Digital di Indonesia pada Masa Pandemi COVID-19: Sebuah Tinjauan Sistematis. Nusantara: Jurnal Pendidikan Indonesia, 2(1), 1–18. https://doi.org/10.14421/njpi.2022.v2i1-1 Aisha, I., & Kaloeti, D. V. S. (2021). Digital Storytelling Intervention on Prosocial Behavior Improvement among Early Childhood. Psympathic: Jurnal Ilmiah Psikologi, 7(2), 185–196. https://doi.org/10.15575/psy.v7i2.5713 Boltman, A., & Druin, A. (2001). Children’s storytelling technologies. Differences in Elaboration and Recall. Chambers, G. J., & Yunus, M. M. (2017). Enhancing Learners’ Sentence Constructions via ‘Wheel of Grammar’. Pertanika Journal of Social Sciences & Humanities, 25(4). Davies, D., Jindal-Snape, D., Collier, C., Digby, R., Hay, P., & Howe, A. (2013). Creative learning environments in education—A systematic literature review. Thinking Skills and Creativity, 8, 80–91. Demirbaş, İ., & Şahin, A. (2020). A Systemic Analysis of Research on Digital Storytelling in Turkey. International Journal of Progressive Education, 16(4), 45–65. https://doi.org/10.29329/ijpe.2020.268.4 Dixon-Woods, M. (2010). Systematic reviews and qualitative methods. Qualitative Research: Theory, Method, and Practice. 3rd Edn. London: Sage, 331–346. Egan, K. (1989). Teaching as storytelling: An alternative approach to teaching and curriculum in the elementary school. University of Chicago Press. Gagné, R. M., Briggs, L. J., & Wager, W. W. (1988). Principles of Instructional Design. Holt, Rinehart, and Winston. https://books.google.co.id/books?id=dAsmAQAAIAAJ Gough, D. (2007). Weight of evidence: A framework for the appraisal of the quality and relevance of evidence. Research Papers in Education, 22(2), 213–228. Karlina, D. N., Widiastuti, A. A., & Soesilo, T. D. (2018). Meningkatkan Kemampuan Berbicara Anak Tk B Usia 5-6 Tahun Melalui Digital Storytelling di TK Apple Kids Salatiga. JPUD - Jurnal Pendidikan Usia Dini, 12(1), 1–11. https://doi.org/10.21009//jpud.121.01 Kearney, M., Jones, G., & Roberts, L. (2012). An Emerging Learning Design for Student-Generated" iVideos". Teaching English with Technology, 12(2), 103–121. Kogila, M., Ibrahim, A. B., & Zulkifli, C. Z. (2020). A Powerful of Digital Storytelling to Support Education and Key Elements from Various Experts. International Journal of Academic Research in Progressive Education and Development, 9(2), 408–420. https://doi.org/10.6007/ijarped/v9-i2/7483 Maghfiroh, Suarjana, I. M., & Astawan, I. G. (2020). Pengembangan Media Video Wayang Kreasi Untuk Mendukung Pembelajaran Storytelling Anak Kelompok B Tk Kristen Harapan Denpasar. Indonesian Journal of Instruction, 1(2), 66–75. Malik, M., Altaf, F., & Gull, M. (2020). Challenges Faced by Teachers in Teaching through Storytelling and Play-Way Method at Early childhood Education Level. Global Educational Studies Review, V(III), 152–165. https://doi.org/10.31703/gesr.2020(v-iii).16 Manullang, D., Banjarnahor, H., & Simanjuntak, L. (2021). Developing Digital Story Telling and Educational Games to Improve Early Childhood Cognitive Ability. 6th Annual International Seminar on Transformative Education and Educational Leadership (AISTEEL 2021), 591(Aisteel), 710–718. Maureen, I. Y., van der Meij, H., & de Jong, T. (2018). Supporting Literacy and Digital Literacy Development in Early Childhood Education Using Storytelling Activities. International Journal of Early Childhood, 50(3), 371–389. https://doi.org/10.1007/s13158-018-0230-z Maureen, I. Y., van der Meij, H., & de Jong, T. (2020). Enhancing Storytelling Activities to Support Early (Digital) Literacy Development in Early Childhood Education. International Journal of Early Childhood, 52(1), 55–76. https://doi.org/10.1007/s13158-020-00263-7 Maureen, I. Y., van der Meij, H., & de Jong, T. (2021). Evaluating storytelling activities for early literacy development. International Journal of Early Years Education, 0(0), 1–18. https://doi.org/10.1080/09669760.2021.1933917 Nair, V., & Yunus, M. M. (2021). A systematic review of digital storytelling in improving speaking skills. Sustainability (Switzerland), 13(17). https://doi.org/10.3390/su13179829 Nuraina, Damayanti, E., & Ikawati, A. (2018). Digital Media Dongeng Berbasis Animasi Untuk Pendidikan Karakter Anak Usia Dini. Conference on Innovation and Application of Science and Technology (CIASTECH), 20(2), 177–183. Perry, A., & Hammond, N. (2002). Systematic reviews: The experiences of a PhD student. Psychology Learning & Teaching, 2(1), 32–35. Phillips, L. (2013). Storytelling as Pedagogy. Literacy Learning: The Middle Years, 21(2). Porter, B. (2004). Digitales: The art of telling digital stories. Bernajean Porter. Psomos, P., & Kordaki, M. (2015). A novel educational digital storytelling tool focusing on students’ misconceptions. Procedia-Social and Behavioral Sciences, 191, 82–86. Pusparina, I., Maria, I., & Norfitri, R. (2020). The Effectiveness of Religious Music and Digital Storytelling on the Level of Cooperativeness and Pain in Children During Invasive Treatment (Children’s Room, Zalecha Local Hospital, Martapura). Jurnal Ners, 15(2), 86–90. Rahiem, M. D. H. (2021). Storytelling in early childhood education: Time to go digital. International Journal of Child Care and Education Policy, 15(1). https://doi.org/10.1186/s40723-021-00081-x Robin, B. R. (2008). Digital storytelling: A powerful technology tool for the 21st century classroom. Theory into Practice, 47(3), 220–228. Robin, B. R., & McNeil, S. G. (2019). Digital Storytelling. The International Encyclopedia of Media Literacy, 1–8. Rosyidah, A., & Putri, A. (2019). Digital Storytelling Implementation for Enhancing Students’ Speaking Ability in Various Text Genres. International Journal of Recent Technology and Engineering, 8(4), 3147–3151. https://doi.org/10.35940/ijrte.d8002.118419 Sadik, A. (2008). Digital storytelling: A meaningful technology-integrated approach for engaged student learning. Educational Technology Research and Development, 56(4), 487–506. Shelton, C. C., Archambault, L. M., & Hale, A. E. (2017). Bringing digital storytelling to the elementary classroom: Video production for preservice teachers. Journal of Digital Learning in Teacher Education, 33(2), 58–68. Smith, P. L., & Ragan, T. J. (2005). Instructional Design. John Wiley & Sons. Sulistianingsih, E. (2017). Efektifitas Model Pembelajaran Berbasis Dongeng Digital Untuk Meningkatkan Kecerdasan Emosi Peserta Didik. Jurnal Penelitian Pendidikan, 34(2), 121–126. Tahriri, A., Tous, M. D., & MovahedFar, S. (2015). The impact of digital storytelling on EFL learners’ oracy skills and motivation. International Journal of Applied Linguistics and English Literature, 4(3), 144–153. Tatli, Z., Uğur, N., & Çakiroğlu, Ü. (2018). Peer assessment through digital storytelling: Experiences of pre-service IT teachers. The International Journal of Information and Learning Technology. Tri Aprilia, W., & Hasibuan, R. (2021). Pengaruh Dongeng Digital Terhadap Kemampuan Kosakata Bahasa Jawa Krama Anak Usia 5-6 Tahun di Tk Dharma Wanita Ngimbang Lamongan. Jurnal Pendidikan Indonesia, 2(7), 1283–1294. https://doi.org/10.36418/japendi.v2i7.230 Tridinanti, G. (2017a). English Introduction Through Digital Storytelling in Early Childhood. Ijlecr - International Journal of Language Education and Culture Review, 3(1), 49–55. https://doi.org/10.21009/ijlecr.031.06 Tridinanti, G. (2017b). Enhancing Children’S English Vocabulary Acquisition Through Digital Storytelling of Happy Kids Kindergarten of Palembang. International Journal of Educational and Pedagogical Sciences, 11(11), 2727–2730. https://doi.org/doi.org/10.5281/zenodo.1314514 Wahyuni, W., Sujoko, S., & Sarosa, T. (2018). Improving Students’ Speaking Skill Through Project-Based Learning (Digital Storytelling). English Education, 6(2), 161–168. Yordan, A., & Fahyuni, E. F. (2021). Child-Friendly IRE Learning Through Digital Storytelling in the COVID-19 Pandemic. Nazhruna: Jurnal Pendidikan Islam, 4(3), 590–605.

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As music educators around the globe continue to work in blended environments, it is important to explore how pedagogical approaches can be adapted and reimagined in ways that enhance teaching and learning in this changing educational landscape. In this study, the authors drew on elements of Collaborative Online International Learning (COIL) to teach three culturally diverse songs to pre-service teachers at a Spanish university. Acting as culture bearers and tertiary music educators, they selected and taught songs from three different geographic locations (South Africa, Sri Lanka, and the United States). Utilizing a descriptive case study design, the authors discuss their pedagogical approach and argue a Four Step Flip method (Asynchronous, Synchronous, Face-to-Face, and Hybrid Feedback) can be effectively applied and adopted in online music teaching and learning settings. This model prioritizes the culture bearers’ involvement in the learning process from start to finish while allowing students ample space to merge unfamiliar cultural perspectives with their own. The authors also contend building collaborative networks that extend beyond national borders can enhance understanding and appreciation of different genres, cultures, and languages in music classrooms.

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Abstract The literature concerning pre-service training in music education for generalist primary or elementary school teachers reveals a long-standing problem for teacher educators: low or poor self-efficacy concerning the teaching of classroom music. Concurrently, a critical examination of training programmes has less often featured, with only limited discussion of digital approaches to classroom music-making constituting the focus of empirical research. Through a focused case study in one Australian university, 136 pre-service teachers participated in a face-to-face module of interactive music education which culminated in a peer-directed collaborative digital music-making project. Pre- and post-surveys were implemented with shifts in pre-service teachers’ self-efficacy measured according to Bandura’s self-efficacy scales. Legitimation Code Theory from the sociology of education then served as an overarching theoretical lens through which to appraise the findings. Despite an enduring self-concept as ‘non-musicians’, the results highlight positive shifts in self-efficacy through the utilisation of peer-directed digital music-making tasks, with implications for teacher training programmes more broadly situated.

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The Educative Teacher Performance Assessment (edTPA) is a widely implemented performance assessment in the United States used to indicate the readiness of pre-service teachers to enter the classroom and the level of pre-service teacher preparation supported by individual colleges of education. The purpose of this study is to investigate the psychometric qualities (i.e., validity and reliability) of the edTPA specifically in the context of pre-service music education candidates. The study was guided by the following questions: ‘What is the overall psychometric quality (i.e., validity and reliability) of the edTPA rubric items in the context of pre-service music educators?’ (Research Question 1); ‘How do the rubric criteria fit the measurement model and how do they vary in difficulty?’ (Research Question 2); and (c) ‘Do the category response structures for each criterion empirically cooperate to provide meaningful measures?’ (Research Question 3). Results indicated overall adequate model-data fit but demonstrated measurement optimization concerns attributed to the category response structures. Implications for pre-service music education training are discussed.

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“We do not learn from experience. . .we learn from reflecting on experience” (Dewey, 1933). Building on the theoretical frameworks of Dewey and Schön involving reflective practice, we expanded existent reflective research by examining timing of preservice music educators’ self-reflections after peer teaching. We examined reflection timing (immediately after peer teaching or after viewing video of that same teaching), effect of differing prompts immediately following teaching (free: “How did the lesson go?” or structured: “Name one good thing and one area to improve”), and changes over time (three peer teaching experiences). We examined 5,175 comments from 138 reflections across 69 lessons taught by 23 pre-service educators. Results, analyzed in terms of pre-determined categories, revealed that teachers were consistently less positive immediately after teaching than after viewing video. Positivity was well below 50% but increased across each lesson. Responses were primarily self-focused rather than student focused, especially immediately after teaching. Teachers tended to emphasize social aspects (confidence, atmosphere) during immediate reflections but mentioned music and instruction more frequently after viewing video. Descriptive data, consisting of percentages and graphic comparisons, were discussed in terms of implications for effective teacher preparation and suggested areas of further research.

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This action research study provides insight into the learning of university music education students who participated in a popular musicianship experience. The participants were thirty-four music education students (i.e. pre-service music educators) at an American university enrolled in a student-directed Popular Musicianship course. Although given access to “rock band” instruments and sound equipment during the semester-long experience, they did not receive any direct instruction from the faculty instructor of record. After organizing into bands, the participants were challenged to prepare for performance two or three songs, including one cover and one original song. They also indicated the confidence they had in their ability to lead their future students in popular music making. This measure of self-efficacy was collected at the beginning, middle, and end of the experience. Also, participant written descriptions of their experiences was analyzed qualitatively. The findings of the study indicated that participants believed their overall musicianship benefited from the experience due to the challenging nature of vernacular music making, which was also enjoyable and rewarding. The experience also appeared to impact their teaching philosophies for the future. Finally, their self-efficacy increased significantly across the experience.

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As a playwright-actor-researcher, Burke (2010) created, toured, and published a one-woman play, Ducks on the Moon (DOTM) about her (and her family’s) journey from denial to acceptance to celebration of her youngest son’s diagnosis of autism spectrum disorder (ASD) during his first 5 years. DOTM is not only a drama, but also an arts-based educational research (ABER) project; Burke (2010) labelled her methodology “performative memoir.” In this current project, seven songs were added to the play. As authors-researchers we performed DOTM as a workshop to pre-service and in-service teachers. In particular, we wanted to see if DOTM might serve as professional development (PD) or might become part of a teacher education curriculum. The research questions were as follows: What was the audience’s general reaction to the play-with-music DOTM? And, what might be the implications of such an experience for educators? Did the audience feel that the play-with-music was useful as a vehicle to relay information about ASD and family–professional relationships? Might DOTM serve as PD for in-service teachers or as part of curriculum to prepare pre-service teachers for inclusive practice? We uncovered five inter-related themes: the audience enjoyed DOTM and claimed it was also it was educational, they experienced a range of emotions, they stated that parents need to come to terms with their child’s diagnosis in their own time, many teachers identified with Burke as a mother, and finally, DOTM would make productive PD.

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Learning and performing music affect the brain and cognition and have a positive impact on emotional states. Negative emotional states such as stress, anxiety, and depression are harmful for teaching. Alternative certification teachers in particular are extremely vulnerable to and suffer greatly from negative emotional states. In addition, humor and coping humor are cognitive processes depending on neural networks of the brain. Therefore, the relationships between alternative certification pre-service teachers’ musical behaviors, negative emotional states, humor styles, and coping humor were examined in order to produce knowledge that can be used to increase effectiveness in education regarding negative emotional states, humor styles, and humor. The participants were 112 pre-service teachers enrolled in the alternative certification program of a public university in Turkey ( N = 112). Responses to six psychometric scales and a musical behaviors questionnaire were collected. Results demonstrated that having music and instrument education, duration of those educations, playing a musical instrument, and being member of a musical group were related to various emotional states, humor styles, and coping humor. The findings obtained from the analyses of the relationships between 11 musical variables and negative emotional states, humor styles, and coping humor are discussed in light of the related literature.

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The purpose of this study was to observe the teaching of five early career music teachers in three early career levels (preservice, student teaching, and novice teaching) to determine if teaching expertise changes over time. A secondary purpose was to find if any specific teacher behaviors associated with effectiveness were more prominent when teaching their peers in pre-service, another educator’s students in student teaching, and their own students in novice teaching. Data consisted of rehearsal frames and instructional targets identified from teaching video transcriptions along with summative evaluations of the videos by expert teachers. Corroborative findings indicated a lack of specificity across all levels which improved somewhat during student teaching and novice teaching. Directives were the most frequently observed teacher verbal category and information and demonstrations were the highest ranked items across all levels in the summative evaluation. However, instructional directive scores were inconsistent. Teacher modeling doubled during novice teaching. Many of the evaluators commented on the overuse of rote teaching, concurrent performance model, and lack of competency-based education techniques. Implications for higher education training including self awareness and accountability are discussed.

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As the single most successful social-networking Website to date, Facebook has caused a shift in both practice and perception of online socialisation, and its relationship to the offline world. While not the first online social networking service, Facebook’s user base dwarfs its nearest competitors. Mark Zuckerberg’s creation boasts more than 750 million users (Facebook). The currently ailing MySpace claimed a ceiling of 100 million users in 2006 (Cashmore). Further, the accuracy of this number has been contested due to a high proportion of fake or inactive accounts. Facebook by contrast, claims 50% of its user base logs in at least once a day (Facebook). The popular and mainstream uptake of Facebook has shifted social use of the Internet from various and fragmented niche groups towards a common hub or portal around which much everyday Internet use is centred. The implications are many, but this paper will focus on the progress what Mimi Marinucci terms the “Facebook effect” (70) and the evolution of lists as a filtering mechanism representing one’s social zones within Facebook. This is in part inspired by the launch of Google’s new social networking service Google+ which includes “circles” as a fundamental design feature for sorting contacts. Circles are an acknowledgement of the shortcomings of a single, unified friends list that defines the Facebook experience. These lists and circles are both manifestations of the same essential concept: our social lives are, in fact, divided into various zones not defined by an online/offline dichotomy, by fantasy role-play, deviant sexual practices, or other marginal or minority interests. What the lists and circles demonstrate is that even very common, mainstream people occupy different roles in everyday life, and that to be effective social tools, social networking sites must grant users control over their various identities and over who knows what about them. Even so, the very nature of computer-based social tools lead to problematic definitions of identities and relationships using discreet terms, in contrast to more fluid, performative constructions of an individual and their relations to others. Building the Monolith In 1995, Sherry Turkle wrote that “the Internet has become a significant social laboratory for experimenting with the constructions and reconstructions of self that characterize postmodern life” (180). Turkle describes the various deliberate acts of personnae creation possible online in contrast to earlier constraints placed upon the “cycling through different identities” (179). In the past, Turkle argues, “lifelong involvement with families and communities kept such cycling through under fairly stringent control” (180). In effect, Turkle was documenting the proliferation of identity games early adopters of Internet technologies played through various means. Much of what Turkle focused on were MUDs (Multi-User Dungeons) and MOOs (MUD Object Oriented), explicit play-spaces that encouraged identity-play of various kinds. Her contemporary Howard Rheingold focused on what may be described as the more “true to life” communities of the WELL (Whole Earth ‘Lectronic Link) (1–38). In particular, Rheingold explored a community established around the shared experience of parenting, especially of young children. While that community was not explicitly built on the notion of role-play, the parental identity was an important quality of community members. Unlike contemporary social media networks, these early communities were built on discreet platforms. MUDs, MOOs, Bulletin Board Systems, UseNet Groups and other early Internet communication platforms were generally hosted independently of one another, and even had to be dialled into via modem separately in some cases (such as the WELL). The Internet was a truly disparate entity in 1995. The discreetness of each community supported the cordoning off of individual roles or identities between them. Thus, an individual could quite easily be “Pete” a member of the parental WELL group and “Gorak the Destroyer,” a role-player on a fantasy MUD without the two roles ever being associated with each other. As Turkle points out, even within each MUD ample opportunity existed to play multiple characters (183–192). With only a screen name and associated description to identify an individual within the MUD environment, nothing technical existed to connect one player’s multiple identities, even within the same community. As the Internet has matured, however, the tendency has been shifting towards monolithic hubs, a notion of collecting all of “the Internet” together. From a purely technical and operational perspective, this has led to the emergence of the ISP (Internet service provider). Users can make a connection to one point, and then be connected to everything “on the Net” instead of individually dialling into servers and services one at a time as was the case in the early 1980s with companies such as Prodigy, the Source, CompuServe, and America On-Line (AOL). The early information service providers were largely walled gardens. A CompuServe user could only access information on the CompuServe network. Eventually the Internet became the network of choice and services migrated to it. Standards such as HTTP for Web page delivery and SMTP for email became established and dominate the Internet today. Technically, this has made the Internet much easier to use. The services that have developed on this more rationalised and unified platform have also tended toward monolithic, centralised architectures, despite the Internet’s apparent fundamental lack of a hierarchy. As the Internet replaced the closed networks, the wider Web of HTTP pages, forums, mailing lists and other forms of Internet communication and community thrived. Perhaps they required slightly more technological savvy than the carefully designed experience of walled-garden ISPs such as AOL, but these fora and IRC (Internet Relay Chat) rooms still provided the discreet environments within which to role-play. An individual could hold dozens of login names to as many different communities. These various niches could be simply hobby sites and forums where a user would deploy their identity as model train enthusiast, musician, or pet owner. They could also be explicitly about role-play, continuing the tradition of MUDs and MOOs into the new millennium. Pseudo- and polynymity were still very much part of the Internet experience. Even into the early parts of the so-called Web 2.0 explosion of more interactive Websites which allowed for easier dialog between site owner and viewer, a given identity would be very much tied to a single site, blog or even individual comments. There was no “single sign on” to link my thread from a music forum to the comments I made on a videogame blog to my aquarium photos at an image gallery site. Today, Facebook and Google, among others, seek to change all that. The Facebook Effect Working from a psychological background Turkle explored the multiplicity of online identities as a valuable learning, even therapeutic, experience. She assessed the experiences of individuals who were coming to terms with aspects of their own personalities, from simple shyness to exploring their sexuality. In “You Can’t Front on Facebook,” Mimi Marinucci summarizes an analysis of online behaviour by another psychologist, John Suler (67–70). Suler observed an “online disinhibition effect” characterised by users’ tendency to express themselves more openly online than offline (321). Awareness of this effect was drawn (no pun intended) into popular culture by cartoonist Mike Krahulik’s protagonist John Gabriel. Although Krahulik’s summation is straight to the point, Suler offers a more considered explanation. There are six general reasons for the online disinhibition effect: being anonymous, being invisible, the communications being out of sync, the strange sensation that a virtual interlocutor is all in the mind of the user, the general sense that the online world simply is not real and the minimisation of status and authority (321–325). Of the six, the notion of anonymity is most problematic, as briefly explored above in the case of AOL. The role of pseudonymity has been explored in more detail in Ruch, and will be considered with regard to Facebook and Google+ below. The Facebook effect, Marinucci argues, mitigates all six of these issues. Though Marinucci explains the mitigation of each factor individually, her final conclusion is the most compelling reason: “Facebook often facilitates what is best described as an integration of identities, and this integration of identities in turn functions as something of an inhibiting factor” (73). Ruch identifies this phenomenon as the “aggregation of identities” (219). Similarly, Brady Robards observes that “social network sites such as MySpace and Facebook collapse the entire array of social relationships into just one category, that of ‘Friend’” (20). Unlike earlier community sites, Ruch notes “Facebook rejects both the mythical anonymity of the Internet, but also the actual pseudo- or polynonymous potential of the technologies” (219). Essentially, Facebook works to bring the offline social world online, along with all the conventional baggage that accompanies the individual’s real-world social life. Facebook, and now Google+, present a hard, dichotomous approach to online identity: anonymous and authentic. Their socially networked individual is the “real” one, using a person’s given name, and bringing all (or as many as the sites can capture) their contacts from the offline world into the online one, regardless of context. The Facebook experience is one of “friending” everyone one has any social contact with into one hom*ogeneous group. Not only is Facebook avoiding the multiple online identities that interested Turkle, but it is disregarding any multiplicity of identity anywhere, including any online/offline split. David Kirkpatrick reports Mark Zuckerberg’s rejection of this construction of identity is explained by his belief that “You have one identity … having two identities for yourself is an example of a lack of integrity” (199). Arguably, Zuckerberg’s calls for accountability through identity continue a perennial concern for anonymity online fuelled by “on the Internet no one knows you’re a dog” style moral panics. Over two decades ago Lindsy Van Gelder recounted the now infamous case of “Joan and Alex” (533) and Julian Dibbell recounted “a rape in cyberspace” (11). More recent anxieties concern the hacking escapades of Anonymous and LulzSec. Zuckerberg’s approach has been criticised by Christopher Poole, the founder of 4Chan—a bastion of Internet anonymity. During his keynote presentation at South by SouthWest 2011 Poole argued that Zuckerberg “equates anonymity with a lack of authenticity, almost a cowardice.” Yet in spite of these objections, Facebook has mainstream appeal. From a social constructivist perspective, this approach to identity would be satisfying the (perceived?) need for a mainstream, context-free, general social space online to cater for the hundreds of millions of people who now use the Internet. There is no specific, pre-defined reason to join Facebook in the way there is a particular reason to join a heavy metal music message board. Facebook is catering to the need to bring “real” social life online generally, with “real” in this case meaning “offline and pre-existing.” Very real risks of missing “real life” social events (engagements, new babies, party invitations etc) that were shared primarily via Facebook became salient to large groups of individuals not consciously concerned with some particular facet of identity performance. The commercial imperatives towards monolithic Internet and identity are obvious. Given that both Facebook and Google+ are in the business of facilitating the sale of advertising, their core business value is the demographic information they can sell to various companies for target advertising. Knowing a user’s individual identity and tastes is extremely important to those in the business of selling consumers what they currently want as well as predicting their future desires. The problem with this is the dawning realisation that even for the average person, role-playing is part of everyday life. We simply aren’t the same person in all contexts. None of the roles we play need to be particularly scandalous for this to be true, but we have different comfort zones with people that are fuelled by context. Suler proposes and Marinucci confirms that inhibition may be just as much part of our authentic self as the uninhibited expression experienced in more anonymous circ*mstances. Further, different contexts will inform what we inhibit and what we express. It is not as though there is a simple binary between two different groups and two different personal characteristics to oscillate between. The inhibited personnae one occupies at one’s grandmother’s home is a different inhibited self one plays at a job interview or in a heated discussion with faculty members at a university. One is politeness, the second professionalism, the third scholarly—yet they all restrain the individual in different ways. The Importance of Control over Circles Google+ is Google’s latest foray into the social networking arena. Its previous ventures Orkut and Google Buzz did not fare well, both were variously marred by legal issues concerning privacy, security, SPAM and hate groups. Buzz in particular fell afoul of associating Google accounts with users” real life identities, and (as noted earlier), all the baggage that comes with it. “One user blogged about how Buzz automatically added her abusive ex-boyfriend as a follower and exposed her communications with a current partner to him. Other bloggers commented that repressive governments in countries such as China or Iran could use Buzz to expose dissidents” (Novak). Google+ takes a different approach to its predecessors and its main rival, Facebook. Facebook allows for the organisation of “friends” into lists. Individuals can span more than one list. This is an exercise analogous to what Erving Goffman refers to as “audience segregation” (139). According to the site’s own statistics the average Facebook user has 130 friends, we anticipate it would be time-consuming to organise one’s friends according to real life social contexts. Yet without such organisation, Facebook overlooks the social structures and concomitant behaviours inherent in everyday life. Even broad groups offer little assistance. For example, an academic’s “Work People” list may include the Head of Department as well as numerous other lecturers with whom a workspace is shared. There are things one might share with immediate colleagues that should not be shared with the Head of Department. As Goffman states, “when audience segregation fails and an outsider happens upon a performance that was not meant for him, difficult problems in impression management arise” (139). By hom*ogenising “friends” and social contexts users are either inhibited or run the risk of some future awkward encounters. Google+ utilises “circles” as its method for organising contacts. The graphical user interface is intuitive, facilitated by an easy drag and drop function. Use of “circles” already exists in the vocabulary used to describe our social structures. “List” by contrast reduces the subject matter to simple data. The utility of Facebook’s friends lists is hindered by usability issues—an unintuitive and convoluted process that was added to Facebook well after its launch, perhaps a reaction to privacy concerns rather than a genuine attempt to emulate social organisation. For a cogent breakdown of these technical and design problems see Augusto Sellhorn. Organising friends into lists is a function offered by Facebook, but Google+ takes a different approach: organising friends in circles is a central feature; the whole experience is centred around attempting to mirror the social relations of real life. Google’s promotional video explains the centrality of emulating “real life relationships” (Google). Effectively, Facebook and Google+ have adopted two different systemic approaches to dealing with the same issue. Facebook places the burden of organising a hom*ogeneous mass of “friends” into lists on the user as an afterthought of connecting with another user. In contrast, Google+ builds organisation into the act of connecting. Whilst Google+’s approach is more intuitive and designed to facilitate social networking that more accurately reflects how real life social relationships are structured, it suffers from forcing direct correlation between an account and the account holder. That is, use of Google+ mandates bringing online the offline. Google+ operates a real names policy and on the weekend of 23 July 2011 suspended a number of accounts for violation of Google’s Community Standards. A suspension notice posted by Violet Blue reads: “After reviewing your profile, we determined the name you provided violates our Community Standards.” Open Source technologist Kirrily Robert polled 119 Google+ users about their experiences with the real names policy. The results posted to her on blog reveal that users desire pseudonymity, many for reasons of privacy and/or safety rather than the lack of integrity thought by Zuckerberg. boyd argues that Google’s real names policy is an abuse of power and poses danger to those users employing “nicks” for reasons including being a government employment or the victim of stalking, rape or domestic abuse. A comprehensive list of those at risk has been posted to the Geek Feminism Wiki (ironically, the Wiki utilises “Connect”, Facebook’s attempt at a single sign on solution for the Web that connects users’ movements with their Facebook profile). Facebook has a culture of real names stemming from its early adopters drawn from trusted communities, and this culture became a norm for that service (boyd). But as boyd also points out, “[r]eal names are by no means universal on Facebook.” Google+ demands real names, a demand justified by rhetoric of designing a social networking system that is more like real life. “Real”, in this case, is represented by one’s given name—irrespective of the authenticity of one’s pseudonym or the complications and dangers of using one’s given name. Conclusion There is a multiplicity of issues concerning social networks and identities, privacy and safety. This paper has outlined the challenges involved in moving real life to the online environment and the contests in trying to designate zones of social context. Where some earlier research into the social Internet has had a positive (even utopian) feel, the contemporary Internet is increasingly influenced by powerful and competing corporations. As a result, the experience of the Internet is not necessarily as flexible as Turkle or Rheingold might have envisioned. Rather than conducting identity experimentation or exercising multiple personnae, we are increasingly obligated to perform identity as it is defined by the monolithic service providers such as Facebook and Google+. This is not purely an indictment of Facebook or Google’s corporate drive, though they are obviously implicated, but has as much to do with the new social practice of “being online.” So, while there are myriad benefits to participating in this new social context, as Poole noted, the “cost of failure is really high when you’re contributing as yourself.” Areas for further exploration include the implications of Facebook positioning itself as a general-purpose user authentication tool whereby users can log into a wide array of Websites using their Facebook credentials. If Google were to take a similar action the implications would be even more convoluted, given the range of other services Google offers, from GMail to the Google Checkout payment service. While the monolithic centralisation of these services will have obvious benefits, there will be many more subtle problems which must be addressed. References Blue, Violet. “Google Plus Deleting Accounts en Masse: No Clear Answers.” zdnet.com (2011). 10 Aug. 2011 ‹http://www.zdnet.com/blog/violetblue/google-plus-deleting-accounts-en-masse-no-clear-answers/56›. boyd, danah. “Real Names Policies Are an Abuse of Power.” zephoria.org (2011). 10 Aug. 2011 ‹http://www.zephoria.org/thoughts/archives/2011/08/04/real-names.html›. Cashmore, Pete. “MySpace Hits 100 Million Accounts.” mashable.com (2006). 10 Aug. 2011 ‹http://mashable.com/2006/08/09/myspace-hits-100-million-accounts›. Dibble, Julian. My Tiny Life: Crime and Passion in a Virtual World. New York: Henry Holt & Company, 1998. Facebook. “Fact Sheet.” Facebook (2011). 10 Aug. 2011 ‹http://www.facebook.com/press/info.php?statistic›. Geek Feminism Wiki. “Who Is Harmed by a Real Names Policy?” 2011. 10 Aug. 2011 ‹http://geekfeminism.wikia.com/wiki/Who_is_harmed_by_a_%22Real_Names%22_policy› Goffman, Erving. The Presentation of Self in Everyday Life. London: Penguin, 1959. Google. “The Google+ Project: Explore Circles.” Youtube.com (2011). 10 Aug. 2011 ‹http://www.youtube.com/watch?v=ocPeAdpe_A8›. Kirkpatrick, David. The Facebook Effect. New York: Simon & Schuster, 2010. Marinucci, Mimi. “You Can’t Front on Facebook.” Facebook and Philosophy. Ed. Dylan Wittkower. Chicago & La Salle, Illinois: Open Court, 2010. 65–74. Novak, Peter. “Privacy Commissioner Reviewing Google Buzz.” CBC News: Technology and Science (2010). 10 Aug. 2011 ‹http://www.cbc.ca/news/technology/story/2010/02/16/google-buzz-privacy.html›. Poole, Christopher. Keynote presentation. South by SouthWest. Texas, Austin, 2011. Robards, Brady. “Negotiating Identity and Integrity on Social Network Sites for Educators.” International Journal for Educational Integrity 6.2 (2010): 19–23. Robert, Kirrily. “Preliminary Results of My Survey of Suspended Google Accounts.” 2011. 10 Aug. 2011 ‹http://infotrope.net/2011/07/25/preliminary-results-of-my-survey-of-suspended-google-accounts/›. Rheingold, Howard. The Virtual Community: Homesteading on the Electronic Frontier. New York: Harper Perennial, 1993. Ruch, Adam. “The Decline of Pseudonymity.” Posthumanity. Eds. Adam Ruch and Ewan Kirkland. Oxford: Inter-Disciplinary.net Press, 2010: 211–220. Sellhorn, Augusto. “Facebook Friend Lists Suck When Compared to Google+ Circles.” sellmic.com (2011). 10 Aug. 2011 ‹http://sellmic.com/blog/2011/07/01/facebook-friend-lists-suck-when-compared-to-googleplus-circles›. Suler, John. “The Online Disinhibition Effect.” CyberPsychology and Behavior 7 (2004): 321–326. Turkle, Sherry. Life on the Screen: Identity in the Age of the Internet. New York: Simon & Schuster, 1995. Van Gelder, Lindsy. “The Strange Case of the Electronic Lover.” Computerization and Controversy: Value Conflicts and Social Choices Ed. Rob Kling. New York: Academic Press, 1996: 533–46.

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Abstract:

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 hom*o 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 hom*o 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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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>.