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As a teacher, I live for the "light bulb" moments - thosemoments when the synapses firing in a student's brain arevisible as a flash of recognition in his or her eyes. Hungry forthose moments, I also love the challenge of reaching,stretching, searching for ways to explain things to studentsthat will cause their "light bulbs" to turn on. Over time I'vediscovered that I get the best results when I create an analogyor choose an example that is relevant to students' lives.So when I want to light up the classroom, I make connections- and invite students to make connections - to popular culture.

Incorporating Popular Culture Texts

Like many teachers, I initially used popular culture "as a 'hook'or 'attention grabber' in the classroom to draw students intothe traditional elements of the English curriculum" (Callahanand Low, 2004, p. 56). I began by inviting students to analyzeand discuss song lyrics in conjunction with the works ofliterature we were studying in our twelfth-grade English class.For example, we listened to Dan Fogelberg's "Leader of theBand" (1981) with James Joyce's A Portrait of the Artist as aYoung Man (1964), The Cure's "Killing an Arab" (1980) withAlbert Camus' The Stranger (1942), and Talking Heads'"Psycho Killer" (1977), with Fyodor Dostoevsky's Crime andPunishment (1866). (For additional pairings of music andliterature, visit the SIBL Library, a searchable database of"Songs Inspired by Literature" on the Artists for Literacywebsite, http://artistsforliteracy.org/display/famous.php.)

I quickly realized, however, that the value of using popularmusic went far beyond that of a "hook" or "attention grabber."Analyzing and discussing thematic connections between thesong lyrics and the literary works deepened the conversationand brought new perspectives and insights to both texts.Additionally, once I opened the classroom discourse tononprint media by introducing songs, students began to bringin their own examples of music, TV shows, movies, and otherpop culture texts that they felt related to the curriculum. Thus,I modeled and supported students in making text-to-textconnections across diverse media and various types of texts.

Another tried-and-true approach to using pop culture texts inthe language arts classroom is to draw on them for student-friendly examples of poetic devices and other literarytechniques. For example, in "Feeling the Rhythm of theCritically Conscious Mind" AnJeanette Alexander-Smith(2004) describes using hip-hop music to introduce the conceptof tone, and other teachers have used television shows, such asSouth Park, and movies, such as Shrek, to help studentsunderstand satire (Hunt & Hunt, 2004; Wright, 2002-2007).Susan Carmichael outlines a lesson called "Stairway toHeaven: Examining Metaphor in Popular Music" in whichstudents find metaphors in popular music lyrics and thenillustrate and explain them to their classmates (2002-2007).(Additional lesson plans of this nature are available on theRock and Roll Hall of Fame and Museum website athttp://www.rockhall.com/ programs/plans.asp.)

Inviting students to bring their own pop culture texts into theclassroom is a way of "letting students know that what theythink and know is important" (Shaw, 2004, p. 88). Givenadolescents' lifelong engagements with television, movies,music, the Internet, video games, and so on, secondarystudents' experiences with pop culture texts far exceed theirexperiences with traditional print texts, and they have muchmore pop culture knowledge than they do other kinds ofknowledge. Therefore, by incorporating pop culture texts intothe curriculum, we can help them connect the new to theknown. Showing students how the reading, writing, andthinking skills of the language arts curriculum translate acrossvarious media piques their interest, heightens their engagement,and deepens their learning.

Honor Moorman

Using Popular Culture Texts and Multi-Modal

Literacy to Teach Strategic Reading

Honor Moorman is a National Board Certified teacher with eight

years of experience teaching ninth and twelfth-grade English at the

International School of the Americas in San Antonio, Texas. She is

currently working as a secondary literacy specialist for the North East

Independent School District, and she has presented workshops at

numerous venues including TCTELA and NCTE. Honor is also a

teacher consultant with the San Antonio Writing Project, the newsletter

editor for the San Antonio Area Council of Teachers of English, and

the associate editor for Voices from the Middle. She has published

two articles in English Journal, "Teaching with Passion, Learning by

Choice" (March 2007) and "Backing into Ekphrasis: Reading and

Writing Poetry about Visual Art" (September 2006).

POPULAR CULTURE AND TECHNOLOGY

English in Texas | Volume 37.1 | Spring/Summer 2007 | A Journal of the Texas Council of Teachers of English Language Arts26

Drawing on students' home and community resources, whichinclude their knowledge of popular culture, is also animportant aspect of a culturally relevant pedagogy. Bringingpopular culture into the classroom can help bridge the gapbetween home and school literacies. Donna Alvermann andShelley Xu (2003) advocate "using children's popular cultureinterests to teach reading and language arts concepts andskills" explaining that "because popular culture texts are partof students' everyday literacies, they hold powerful andpersonal meanings for students" (pp. 148, 150). Connie Zitlow(2004) notes that the "familiar worlds of our students,constructed with both print and nonprint media, include manyelements that can be tools for learning and objects of extendedinquiry" (p. 96). Likewise, Tonya Perry (2004) points out thatpopular culture can be used to enhance students' learning inthe English classroom (p. 95).

Building on Visual Literacy

Using pop culture texts in the classroom is an important wayto integrate visual and multimedia texts into the curriculum.Alvermann and Xu (2003) assert that "[b]ecause many popularculture texts make use of multimedia, they can be helpful inextending school literacy teaching and learning beyondtraditional print-based materials" (p. 152). Matt Copeland andChris Goering (2003) emphasize that it is important to includenew forms of literacy in the classroom in order to "betterprepare students for the skills life demands" (p. 441).Certainly, the increasingly visual nature of our culturedemands that we incorporate visual, media, and multimodalliteracy into the language arts curriculum.

In 1996, NCTE offered the following rationale for the additionof "viewing" and "visually representing" to the EnglishLanguage Arts standards:

To participate in a global society, we continue to extendour ways of communicating. Viewing and visuallyrepresenting . . . are a part of our growing consciousnessof how people gather and share information. Teachers andstudents need to expand their appreciation of the power ofprint and nonprint texts. Teachers should guide studentsin constructing meaning through creating and viewingnonprint texts (NCTE Board of Directors).

Similarly, in "The Third Eye," Ali Eken (2002) argues thatgiven the pervasiveness of various kinds of media-includingfilm, television, and music-and the need for students to be ableto interpret and decode them, educators should reconsider theirdefinitions of literacy to include nontraditional forms of"reading" (p. 221). And Elliot Eisner (2003) concurs, statingthat literacy "can be thought of, not as limited to what thetongue can articulate, but what the mind can grasp" (p. 342).Observing how children use multimodal literacies to make

meaning, Harste, Woodward, and Burke (1984) call foreducators to abandon the "verbocentric" view of literacy andadopt a semiotic one (p. 168). From a semiotic perspective, allcreative disciplines-art, writing, photography, filmmaking,dance, drama, and so on-share a common underlying processin which a message is expressed, conveyed, and understoodthrough one or more sign systems-images, words, actions,symbols, artifacts, and so forth.

Harry Noden's Image Grammar (1999) offers a writingpedagogy based on the similarities between the visual and theverbal arts in terms of the correlations between what artistsand writers do to create meaning. The other side of thisanalogy is the correlation between what viewers and readersdo to make meaning from an image or print text. As JohnGolden (2001) asserts, "the skills [students] use to decode the visualimage are the same skills they use for a written text" (p. xiii).Therefore, visual, multimedia, and pop culture texts can beused to scaffold students' growth as readers of traditional printtext. Jerome Evans (2004) suggests that "[a]rtifacts of popculture serve as advanced organizers for students, who canthen connect new material . . . to their own experiences" and"[s]tudents can more readily practice critical-thinking skills. . .with familiar material, and they will be better equipped totackle literature new to them and discover ideas they havenever thought of before" (pp. 33, 37).

In Reading in the Dark, Golden (2001) advocates using filmclips to "practice the reading and analytical skills that we wantour students to have and then turn to the written text" (p. xiv;italics in original). Golden (2001) explains:

Its visual nature often makes film more accessible thanprint for students. When film and literature are usedtogether in the classroom, student can transfer techniquesthey use as active viewers (which often come more naturally)to their experiences with literature. This enhances their skillsas active readers and enables them to respond to a varietyof media with more depth (p. xiii).

Golden recommends using film clips to teach predicting,responding to text, and questioning the text, as well asanalyzing character, setting, point of view, symbolism, andirony. Using this approach with his students, Golden (2001)observed that "the watching and analyzing of movies seemed togreatly affect their ability to read and critique literature" (p.xiv).

Scaffolding Reading Comprehension

Another way of capitalizing on students' pop culture interestsand visual literacy skills that I have found effective is the useof visual and multimedia texts to scaffold instruction inreading comprehension. Working with adolescent readers,I have consistently observed that drawing analogies between

English in Texas | Volume 37.1 | Spring/Summer 2007 | A Journal of the Texas Council of Teachers of English Language Arts 27

the reading strategies proficient readers use and the viewingstrategies viewers use boosts students' confidence and buildstheir competence as strategic readers. This pairing of popularculture with more traditional literacy instruction provides a"meeting place where students and teachers can share theirexpertise" (Callahan & Low, 2004, p. 52).

Best practice in the teaching of reading includes explicitinstruction in the use of metacognitive comprehensionstrategies. In order to make the invisible processes of readingand thinking while reading visible for students, we must notonly model "what good readers do" when we read, we mustalso articulate and explain the strategies we are using to makethe text make sense. And because teaching readingcomprehension involves making something invisible visible,we naturally tend to use visual aids, such as graphic organizers,as well as metaphors and analogies, to help studentsunderstand the abstract concepts involved in the readingprocess in a concrete way. To help students become morestrategic readers, Ellin Keene (2006) advocates guiding themto "scrutinize their own reading process," to think about whatthey do when they read. Students can also gain insights intothe meaning-making process by scrutinizing their viewingstrategies, thinking about what they do when they view andmake sense of images and multimedia texts.

By first introducing a comprehension strategy using a visualmedia, we can encourage students to think critically about theirviewing strategies, and then build on their strengths andexperiences as viewers to help them transfer those strategiesto print texts. In addition to creating an anchor chart listing thestrategies good readers use, a second column can be addedlisting the analogous viewing strategies we use when "reading"pop culture texts (see Table 1). The idea is to start with thestrengths and skills students bring to the classroom-from theirexperiences "reading" television, movies, the Internet, comicbooks, and so on-to deepen their understanding of the literatepractices good readers use through analogies to the visual literacypractices the students are familiar with, and to help them transferthis metacognitive awareness to their reading of written texts.

Table 1. Analogous reading comprehension strategies and pop cultureviewing strategies

Establishing a Purpose/Selecting a Text

In order to establish or identify a purpose for reading, we mustmake an appropriate match between the type of text we will bereading and what we need or want to get out of it. Proficientreaders do this quite instinctively and subconsciously, pickingup or abandoning a text for a variety of complex motives basedon sophisticated analysis of each reading situation. A usefulpop culture analogy for this reading behavior is surfing theInternet or channel surfing while watching TV. Take channelsurfing for example. Most people make split-second decisionsabout whether or not to stop and watch each program as itflashes by on the screen. These decisions are at least partlybased on the viewer's judgments about the genre of eachtelevision show and whether or not that genre fits the viewer'smood, needs, or purposes at that time.

To facilitate students' thinking about how selecting a text issimilar to the channel surfing they do naturally at home, havethem participate in the following activity. First, give studentsabout three minutes to brainstorm as many different televisionshows as they can. Have students write the title of each showon a different sticky note or small slip of paper. Encouragethem to think of as many different kinds of shows as possible.Next, have students work in small groups to sort and classifytheir television shows by genre. Have students create a three-column chart with the following column headings: TV genres,examples, reasons for watching (see Table 2). Students discusswhy people choose to watch each type of TV show as they fillin their charts with the genres and examples they havebrainstormed. Guide students to move beyond the generic "tobe informed" or "to be entertained" descriptions of purpose, toexpress more specific reasons a viewer might choose to tuneinto each type of show. Also, encourage them to think ofmultiple purposes for watching each genre.

After students have completed their charts in small groups,invite them to share some of their thinking with the wholeclass. Introduce the topic of channel surfing into thediscussion. Ask students to consider the following questions:

• How do you decide whether to stop and watch something orkeep flipping the channels? (Encourage students to movebeyond superficial responses and think more deeply abouttheir own motives and decision-making process.)

• How are you able to determine what kind of show it is soquickly? (This relates to previewing the text and accessingbackground knowledge about the show in particular or theconventions of that genre in general.)

• Based on a given purpose (give examples), what kind of TVshow would you choose?

Establishing a purpose Channel surfing whilewatching TV

Previewing the text Watching a movie preview

Making connections Following hyperlinks on theinternet

Visualizing and makinginferences

Reading comic books/graphic novels

English in Texas | Volume 37.1 | Spring/Summer 2007 | A Journal of the Texas Council of Teachers of English Language Arts28

• How would your purpose for watching affect how youwatched that show? (Think of several people all choosing thesame show, but each for a different reason.)

Finally, relate the conversation back to the reading of printtext. Ask students to reflect on how their approach to a givenreading situation affects their reading.

Previewing the Text

As part of a class discussion about the goals and benefits ofpreviewing a text, a natural connection to popular culture isthe movie preview. Ask students whether they would bewilling to pay to see a movie without knowing anything aboutit. Most will say, "no." The purpose of this lesson is toconvince them that there are similar reasons to previewing awritten text. To establish a common point of reference, startby showing a movie preview to the class (available fromwebsites such as movies.com). This activity works best if thepreview is for a movie the students have not seen. Ask studentsto "think-ink-pair-share" what they have learned about themovie based on the preview. In other words, have studentsconsider the question individually, record their thinking, sharetheir ideas in pairs, and finally discuss their responses as awhole class. Answers will likely include information such asthe title, actors, genre, and so on. List these on the left side ofa T-chart and invite students to fill in the right side of theT-chart with the analogous information to be learned from

previewing a written text (see Table 3). Have students previewa selection in their literature and/or content area textbookwhile completing this step of the activity.

Referring back to the similarities evident on the T-chart,facilitate a class discussion about how previewing a writtentext, whether fiction or nonfiction, can improve ourunderstanding and/or enjoyment of it in some of the sameways watching a movie preview can. Encourage students tocomment on how their reading experiences, as well as movie-watching experiences, have been affected by previewing ornot previewing the text first. Using examples of moviesstudents have seen, extend the discussion the ways in whichmovie previews can sometimes lead us to have expectationsthat are not fulfilled when we watch the entire movie. Forexample, a few years ago I selected The Family Stone as a filmto watch with two female friends, thinking it would be aromantic comedy we would all enjoy. An hour and a half later,as I wiped the tears from my face, I realized that I was notonly saddened by the tragic events happening on the screen, Iwas also shocked and disappointed by the difference betweenmy expectations based on the preview and the actual movie.Ask students to comment on why this happens and how thisrelates to previewing a written text. Be sure to have studentsconsider how a movie preview is carefully constructed as amarketing ploy, as well as how editors and authors select thetext features such as headings, bold-faced words, andillustrations that our eyes are drawn to when we preview awritten text.

TV Genres Examples Reasons for Watching

Comedy Scrubs, Friends, That 70's Show, Saturday Night Live,Seinfeld Entertainment: to laugh and relax; to forget your worries

DramaGrey's Anatomy, The Gilmore Girls, The Sopranos, Lawand Order, Smallville, One Tree Hill, House, Heroes, CSI,Desperate House Wives, 24

Entertainment: to see what happens next; to get caught upin the story; to find out what's happening in the life ofyour favorite character

News Dateline, 60 Minutes, Today, Anderson Cooper 360, GoodMorning America, Sports-Center, Entertainment Tonight

Information: to keep up with the latest news, trends,human interest stories, sports reports, and celebrity gossip

Cartoons The Simpsons, South Park, Family Guy, Sponge BobSquare Pants, Aqua Teen Hunger Force

Entertainment: for fun; to relax; also for the satiricalhumor and commentary on society

Game Shows Deal or No Deal, 1 vs. 100, Jeopardy, Are You SmarterThan a 5th Grader?

Entertainment: for excitement; to see if the contestant willwin; to play along

Reality TVCribs, The Bachelor, Survivor, MTV Real World, My SuperSweet Sixteen, American Idol, Project Runway, BountyHunter, What Not to Wear

Entertainment: to see how your favorite contestant isdoing; to keep up with the latest drama; to see how otherpeople live

Talk ShowsThe Oprah Winfrey Show, The View, Dr. Phil, Live withRegis and Kelly, Tonight Show with Jay Leno, Late Showwith David Letterman

Information & Entertainment: to learn about a subject thatinterests you; to see how movie stars will respond to inter-view questions

Table 2. Purposes for watching various kinds of television shows

English in Texas | Volume 37.1 | Spring/Summer 2007 | A Journal of the Texas Council of Teachers of English Language Arts 29

Table 3. T-chart with "information to be learned from . . ."

Making Connections

To help students think about the thinking involved in makingconnections while they read, the Internet provides a usefulmetaphor. Making connections while we read a traditionalprint text is somewhat like to following hyperlinks when weread on the Internet. Guiding students to explore this ideafurther begins with acquiring Internet access for students inthe class. If there are not enough computers for each student tohave one, this activity can also be done in pairs. Have studentschoose a news article or other nonfiction article from a typicalmulti-purpose website such as Yahoo! or MSN, and warn themthat they will need to surf the web much more slowly thanusual because they will be recording each step along the way.Instruct students to create a three-column chart where they canrecord each hyperlink they choose to follow, why they arechoosing to click on that link, and information about thewebpage it takes them to next.

In a whole-class debrief of this activity, ask students to reflecton how making connections by following various hyperlinksdid or did not enhance or enrich their understanding of the

original article they read. This helps students articulate thevarious kinds of connections they might make while reading atraditional print text and analyze the various effects thoseconnections can have on their comprehension. Point out thatthe connections available to us on the Internet are limited tothe hyperlinks provided by the webpage author(s). On theother hand, when we read a print text and make our ownconnections, those connections are limited only by the rangeof our own background knowledge and prior experiences.

For the second part of the activity, provide students with ashort print text to read. Instruct students to insert their own"hyperlinks" when they come across a word or phrase thatprompts them to make a connection. This can be doneelectronically using the "Insert Hyperlink" feature in Word orwith paper and pencil simply by annotating to indicateimaginary hyperlinks. Have students compare the differentkinds of connections they made, as well as the different wordsand phrases that prompted those connections in order to raisetheir metacognitive awareness of how making connectionscontributes to individual differences in comprehension andinterpretation.

Visualizing and Making Inferences

Students often have trouble conceptualizing and enacting thestrategies of visualizing and making inferences. The popculture connection I recommend for teaching these strategiesinvolves the use of comic books or graphic novels. First,model for students how to read and think aloud while makingmeaning from a page of a comic book or graphic novel.Explain to students that the white space between frames iscalled the gutter, and emphasize what you are visualizing andinferring to fill in the gaps. Then have students read with apartner, taking turns thinking aloud as they visualize and inferto create a movie in their mind. As an extension, students candraw or write descriptions of what they visualize and infer ishappening in between frames. Debrief the exercise in a wholeclass discussion and continue to reinforce students' use ofvisualizing and making inferences in future reading situations.

Helping Students Develop Multi-Modal Literacy

Using pop culture texts in reading comprehension instructionraises student engagement, builds on their expertise with visualmedia, and empowers students to be more strategic readers ofall texts - written, visual, and multimedia. Ideally, when popculture texts and visual/multimedia are included in thelanguage arts classroom, students' interests, experiences, andliteracies are validated and valued. This practice has thepotential to decenter the traditional authority of the teacherand the literary canon, making the learning environment morestudent-centered and the curriculum more culturally relevant.However, teachers must be mindful of how the various texts

Watching a Movie Preview Previewing a Written Text

Title Title

Actors/director Author

Genre Genre

Setting Setting

Characters Characters (fiction), people(nonfiction)

Plot premise Premise (fiction), subjectmatter (nonfiction)

Selected scenes-highlightedmoments

Selected scenes - illustra-tions, etc.

A few key lines of dialogue Headings, pull quotes, etc.

English in Texas | Volume 37.1 | Spring/Summer 2007 | A Journal of the Texas Council of Teachers of English Language Arts30

are positioned in the curriculum. If pop culture texts are onlyever used to introduce a concept before moving on to the "real"literature, the desired impact on student engagement andempowerment will be less likely. When integrating pop culturetexts, they should be aesthetically appreciated and criticallyanalyzed alongside the more traditional texts with equalrespect and attention.

Linda Adler-Kassner (1998-2007) defines multi-modal literacyas "metacognitive strategies for developing literacy practicesthat can be carried across multiple sites/texts/media, ratherthan a set of practices tied to specific sites". The lessonsdescribed above address multi-modal literacy by 1) facilitatingstudents' critical thinking about their "reading" of pop culturemedia, 2) helping students articulate the meaning-makingprocess and develop greater confidence in their own meaning-making abilities, 3) giving students a vocabulary for thethinking strategies they already use when "reading" televisionshows, movies, the Internet, comic books, and so on,4) drawing analogies between viewing strategies and readingcomprehensions strategies, 5) giving students insights into thereading process and effective use of comprehension strategies,and 6) supporting the transfer of students' metacognitivestrategies from visual to print texts. As a result, students findthese lessons engaging, enjoyable, and enlightening.

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