I've only just begun reading Local literacies, but it's already a fascinating read. Even though I adore living and studying in the USA, and it's something I've strived for for a long time, reading about community and literacy practices in a British city is like wrapping myself in a warm blanket. Even though Lancaster is a world away from the city I come from in England - Bristol (North West vs South West), I noted a lot of similarities between the "visual literacy environment" that the authors describe in Lancaster (p. 40).
As I said, I have only just begun to scratch the surface with this text, but the idea of a "visual literacy environment" is one I'd like to discuss this week. As a 'highly literate' person I take reading and writing for granted on a daily basis. How often have I passed signs that say thinks like "don't touch - wet paint", and I don't give them a second thought...I simply don't touch the wet wall. But what of people who can't read the signs? How frustrating must that be? Even people who can't read are aware of literacy practices such as putting warning signs and messages on pieces of paper; they know there's a message there they're supposed to pick up on, but they cannot read it.
On page 40 the authors describe a variety of visual literacies in and around the city of Lancaster. As I read those descriptions, it occurred to me that many of those same signs and symbols appear around Bristol, but I have become de-sensitized to them. For instance, recently in my home town, a sign was placed on the way into town claiming "Keynsham: Historic Market Town". This sign was scoffed at by most of the residents who know the town to be far from an idyllic "historic market town", but since that initial reaction, it has just become part of the visual literacy environment that we each ignore. But what of the deeper meaning of signs like this? The authors explain how these kinds of literacy practices in and around a town illustrate "commercial...entertainment...political campaigning...information [or]...legal" intentions.(p. 41). This is a sign put up by those in "authority" to try and get more business into the town, they do not represent the local community's view of the town.
Local people and communities do make there mark though, as the authors remind us, with activities like posters and graffiti. In my youth, I remember lots of old, ripped posters around Bristol, but I'm not sure if they're still there - has the authority stamped their mark and taken these community and political voices away, or do I just not notice them anymore? Graffiti is a fascinating literacy in Bristol. It's long been a literacy that young people and those whose voices are often choked by the authorities have utilised to get their point across. I can think of specific bridges and structures that have had activist messages sprayed on them for years.....but then came Banksy.
Banksy started his days defacing buildings around Bristol with graffiti that made statements about society that the local youth could identify with - I think it was quite anti-authoritarian. I think in the beginning the local council tried to remove his work, as they did with all graffiti in the city, but then Banksy became famous. No one ever sees Banksy spraying his murals, and with some media help he recently became an acclaimed 'artist' and his work is now highly valued (both in prestige and monetary value) all over the world - local council's can no longer remove Banksy's work because it adds value to the buildings that he's chosen to spray. This is an interesting case of a particular literacy practice morphing from one thing to another. Graffiti, traditionally a literacy practice of the oppressed, has suddenly become something that the elite has taken as its own and turned into a literacy practice they accept.
However, there's a deep irony here. I recently heard on the radio that a number of people were in uproar because a graffiti artist had painted a design over a Banksy mural!!! The council calmed people by explaining that they would, of course, remove this terrible graffiti as soon as possible and strive to keep the Banksy 'art' in tact.
I may have digressed somewhat here (what's new?!), but my point is that there are a variety of literacy events and practices going on all around us in our daily environments, yet we have our eyes closed to them. Each of these literacy practices has social, cultural, and historical dimensions and it's fascinating to begin to open our eyes and not only identify our own "visual literacy environment", but also to consider what it tells us about whose interests are being represented.
A Banksy Mural in Bristol, England
I have also been enjoying Local Literacies and wondered if you were from the town of Lancaster! It was interesting to have the authors explain the common practice of publicly displaying advertisements and signs in the town. Barton & Hamilton (1998) state that, "Businesses pay for the rights to advertise publicly; political organisations, entertainers and others often work at the boundaries of this by fly-posting as a way of reaching potential customers" (p. 41). "Fly-posting" is commonly seen in the educational world, as well. Schools contain a myriad of flyers, posters, advertisements, and anouncements for meetings, sporting events, extra-curricular activities, and upcoming ooming deadlines. This is another example of expanding the view of literacy and drawing students' attention to their "visual literacy environment". This reiterates the notion that students must see reading and writing as part of their everyday lives, not just as part of reading and language arts classes.
ReplyDeleteI loved your discussion regarding the graffiti artist. Isn't it interesting how his initial artistic expression was considered to deface property and then somehow, he became famous and everything changed? Who decides what is art and what isn't? How does something turn from being "a literacy practice of the oppressed" (Foote), into something highly valued by the elite? Just as I wonder how slang comes into being and infiltrates the masses so quickly. It's all so mysterious and interesting.
ReplyDeleteYour post about Banksy reminds me of my husband's pictures from Ireland. When he traveled to Northern Ireland in 1999, he was fascinated by the political graffiti depicting "The Troubles." An example can be found at http://www.neatorama.com/images/2007-01/nortern-ireland-murals.jpg.
ReplyDeleteAs you might imagine, Rachel, there is an entire line of inquiry on "tagging," the usually urban literacy practice of making some kind of graffiti that is tied, in many cases, to some kind of symbol system. I appreciate how you're digging into the text and I was hoping you would give us your British perspective on it. But what happened to the picture of the coastline that you used to have at the top of your blog? Hey, that's OK to "tag" your blog as you see fit!
ReplyDeleteWhat a rich response, Roo!! :)) You bring such an interesting perspective to the Local Literacies book coming from England, and I can't wait to hear more about the connections you build.
ReplyDeleteYou raised an interesting point when you said, "those same signs and symbols appear around Bristol, but I have become de-sensitized to them." I can relate to the idea of becoming desensitized over time to one's surroundings. I have caught myself on more than one occasion amazed by what I was missing. I don't know what causes it...maybe it's our rushing to-and-fro that causes the almost unconscious daily interaction with visual landscape, maybe its the need for our familiar spaces to become strange in order for us to notice them, or something else. This idea also reminds me of some scientific studies I read about using visual desensitization as a kind of exposure therapy to work with people who had traumatic experiences and phobias. It's really a rather interesting phenomenon!!
I, like others, enjoyed reading your thoughts about Local Literacies. It's interesting how our cultures may seem so similar on so many levels; however, I found myself struggling to understand the descriptions of some of the literacies explained in the book. I enjoyed putting your comments into my understanding.
ReplyDeleteI love your processing about Bansky's work. What a fascinating story; it turned everything on its head! Bill mentioned studies on tagging; I've read at least one of these, and they are really engaging and connect well to your thoughts.
My favorite sign was posted for a few years here in Canton. It was placed on the lawn of a business, but it could have been construed as a common area. The sign said, "Post no signs here." Such irony is rich!