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Youth of Color's Critical Literacies and Storytelling

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Youth of Color's Critical Literacies and Storytelling COMPETING STORIES OF SCHOOL AND COMMUNITY “IMPROVEMENT”: YOUTH OF COLOR’S CRITICAL LITERACIES AND STORYTELLING PRACTICES IN A HIGH SCHOOL WRITING CLASS by Kelly Mershon DeLuca Dissertation Committee: Professor Maria Paula Ghiso Professor Yolanda Sealey-Ruiz Approved by the Committee on the Degree of Doctor of Education Date May 22, 2019 Submitted in partial fulfilment of the requirements for the degree of Doctor of Education in Teachers College, Columbia University 2019 ABSTRACT COMPETING STORIES OF SCHOOL AND COMMUNITY IMPROVEMENT: YOUTH OF COLOR’S CRITICAL LITERACIES AND STORYTELLING PRACTICES IN A HIGH SCHOOL WRITING CLASS Kelly Mershon DeLuca This practitioner research study uses qualitative data collection and analysis methods to explore student engagement with critical and multimodal literacy curriculum in the context of a writing course focused on storytelling. This research addresses the issue of deficit framing in schools serving Youths of Color and the negative characterizations that lead to assumptions about their learning capability based upon their racialized identity. As a result of these deficit discourses, Youths of Color are often positioned as at risk by educators, an assumption which often results in schools that lack intellectually robust and culturally relevant learning opportunities. In an effort to surface and disrupt deficit discourses, I looked to literacy theories such as critical, multimodal, and community literacies, which seek to expand the literacies valued in schools serving youth of color. To frame my inquiry, I asked: (1) What are students’ perspectives and inquiries regarding race, class, gender, and other social framings, and how do these change over time? and (2) How does this research inform my growing understanding of what it means to teach well? Over the course of one school year, I engaged with a group of 10 students in a school labeled as “in need of improvement” in a critically focused, multimodal storytelling curriculum designed to allow student interest and engagement with social issues as a guide for planning learning experiences. By collecting and analyzing student artifacts, discussion transcripts, interview data, and correspondence surrounding critical incidents over the course of the school year, I found that students used storytelling practices to critique social issues in both the surrounding city and the school community, displaying a plethora of Community Cultural Wealth which disrupts assumptions about Youths of Color. Despite this evidence of student Cultural Wealth, I found that the school culture was not a Culturally Sustaining atmosphere due to the over-reliance on compliance to district reform plans strictly aligned to discourses of standardization and accountability. These findings bridge the theory practice gap to help inform administrators, educators, and researchers alike by displaying the extensive daily effects societal education discourses have on students’ day-to-day educational experiences. © Copyright Kelly Mershon DeLuca 2019 All Rights Reserved ii ACKNOWLEDGMENTS This dissertation is representative of not only the years of graduate study I completed at Teachers College, but also the help and support of so many wonderful mentors and friends who have supported me along the way. I am grateful to the many people I have worked with and learned from on this project as well as other projects and courses throughout my doctoral study. I would first like to express my deepest gratitude to my dissertation committee. First and foremost, to my sponsor Dr. Maria Paula Ghiso, who has been a continued source of inspiration, encouragement, and support to me in all of my scholarly endeavors. Her thoughtful feedback, advice, and guidance has shaped me into the scholar that I am, and I very much appreciate her interest and investment in my work. I would also like to thank Dr. Yolanda Sealey-Ruiz, who is a wonderful model of what it means to ground one’s teaching and research practice in love and positivity. Without these two amazing scholars, I would not have been able to complete this work as their care and support were integral to my journey at Teachers College and beyond. In addition, I would like to thank Dr. Ansley Erickson, who helped to inform my perspective and approach to this research and was so giving of her time in meeting with me to discuss my project. Finally, thank you to Dr. Sonya Douglass-Horsford, whose participation in my dissertation defense helped me to solidify my understanding of my work’s implications for leadership and policy. I am blessed to have, in addition to my professional mentors, a cadre of loving family members who have supported me personally throughout my life and helped me to navigate the challenges of my doctoral program. Thank you to my mom, Ginger DeLuca, iii whose unwavering love and support have been the foundation which gave me the courage to go after my dreams. I would like to thank my twin brother Danny, who has been a constant source of care and help, and my Aunt Maria, who has been my confidant and provided me with a peaceful refuge at her home where I can rest and recharge in the company of people who love me. I would also like to thank the many friends who have come into my life to stay, and who make up my adopted family. Though our paths diverge at times, you are the people I know I can call on in a moment of joy or distress to share in my happiness and support me through the hard times. Thank you to Kelsey Darity, Jonas Elbousty, Sarah Halligan, Megan Johnson, Jungmin Kwon, Katie Maloney, the Marshall family— Kasandra, Gary, George, and Oliver, Jessi Mercier, Katie Nagrotsky, Molly Shaughnessy-Encarnacion, and Laura Vernikoff. I am so lucky to have a wonderful network of people who love me enough to talk me through difficult decisions, distract me from my worries, and offer their care, hugs, homes, and time to me whenever I need them. I appreciate having you all in my life. Finally, I would like to thank the teachers, administrators, and university support staff who assisted me over the two years I spent at Central Arts carrying out my research. I especially want to acknowledge the many wonderful students who came through my classroom at Central Arts and who played such an integral role in making this project a reality. I hope to have left you with the same kind of positive memories and continued source of inspiration that you have provided for me. Now standing at the end of this project and looking forward to graduation, I can say that the experiences of my doctoral program, and specifically working on this iv dissertation project, have been formative in my future trajectory. I value all of the people who have stood beside me while I learned and grew. Your support and guidance are appreciated more than I can possibly hope to put into words. K. M. D. v TABLE OF CONTENTS Chapter I – INTRODUCTION ........................................................................................ 1 Deficit Framing in Schools .................................................................................. 3 Literacy Curricula in an Era of Standardization .................................................. 4 Statement of the Problem ..................................................................................... 8 Research Questions .............................................................................................. 12 Conceptual Framework ........................................................................................ 12 Storytelling as a Literacy Practice ........................................................... 13 Theoretical Perspective ............................................................................ 15 Critical literacy................................................................................ 16 Critical literacy as discourse analysis ............................................. 18 Critical perspectives on multimodality ........................................... 19 Designing Responsive Curriculum .......................................................... 21 The Art of Storytelling Curriculum ......................................................... 23 Unit 1—The danger of a single story .............................................. 25 Intended Unit 2—Writing memory, rewriting history .................... 26 Significance of the Study ..................................................................................... 27 Chapter II – LITERATURE REVIEW ............................................................................ 29 Sociocultural Foundations of Literacy Research ................................................. 30 Critical Foundations of Literacy Research .............................................. 31 Review of Relevant Literature ............................................................................. 33 Reading and Writing Cultural Experiences ............................................. 34 Reading and Writing Gendered Experiences ........................................... 40 Multimodal Engagement With Culture and Gender ................................ 43 Literacy and Textual Production .............................................................. 45 Discussion ............................................................................................................ 48 Defining Youth Literacies........................................................................ 48 Bridging (Non)-Schooled Literacies .......................................................
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