Connecting with Culturally and Linguistically Diverse Learners Through Music Ileana Cortés Santiago Purdue University

Home , Arde el Cielo, Gotye, Nine Days, Si no te hubieras ido

Language Arts Journal of Michigan Volume 28 Article 12 Issue 1 Literacy, Literature, and the Arts

2012 Connecting with Culturally and Linguistically Diverse Learners through Music Ileana Cortés Santiago Purdue University

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Recommended Citation Cortés Santiago, Ileana (2012) "Connecting with Culturally and Linguistically Diverse Learners through Music," Language Arts Journal of Michigan: Vol. 28: Iss. 1, Article 12. Available at: https://doi.org/10.9707/2168-149X.1933

This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Language Arts Journal of Michigan by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Connecting with Culturally and Linguistically Diverse Learners through Music

ILEANA CORTES SANTIAGO

usic has an alluring quality that beau- art forms such as music can be used presents to “service lit- tifully complements language arts and eracy curricula” (p. 169). literacy lessons, making them all the more meaningful to young and adult Does Music Work? A Brief Literature Review learners. I have offered workshops on Music certainly works (Lems, 2005) and has been used music and literacy to a variety of learners: families, teach- M to enrich language and literacy learning in content area in- ers, culturally and linguistically diverse students, pre-service struction, particularly English/language arts. Music can be teachers, and fellow graduate students. One aspect I have dis- a “vehicle” to teach English (Medina, 2002, p. 4) or a tool covered as a result of these experiences is that people love in a “learner’s literacy toolkit” (Pane & Salmon, 2011, p. 36). to sing and engage in conversation about songs. These as- Whether vehicle, tool, doorway, or catalyst, there is evidence pects make a sound argument for considering music as an of music’s effectiveness with native speakers of English (Ed- integral part of learning, interacting, and experiencing life. wards, 2013) and non-native speakers of English, such as the In this article, I share important learning moments, parents and guardians who participated in the workshop. themes, and practical ideas that transpired during a workshop In an article focused on her experience working with I offered in Spring 2012 in which a group of Latino/a fami- adult English Language Learners (ELLs) and music, Lems lies learned and made meaningful connections between mu- (2005) highlights the benefits of incorporating songs into sic, language arts, and literacy to showcase their own under- second language instruction through literacy (e.g., reading, standing of the world and garner skills to help their children singing aloud) and language arts lessons (e.g., reading com- with English-related lessons. prehension, identification of narrative lines). Medina (2003) Music in English and Spanish served to engage the par- shows that songs with narrative structure—that tell a sto- ents and guardians, as they were learners tapping, unpack- ry—can foster vocabulary acquisition and genre awareness. ing, and developing ideas while finding ways to employ Meanwhile, combining music with artistic and performance- based activities can engage learners and nurture the acquisi- them at home. They sang, read, suggested songs, dialogued, tion of a second language (Medina, 2002). But how do we contributed ideas, and crafted sample activities to enhance choose songs? their understanding of language arts curricula and support As educators are well aware, adding anything to the cur- their children’s learning. Thus, these learners explored and riculum calls for careful consideration and effective criteria, engaged in myriad sign systems (Berghoff, Egawa, Harste, such as assessing proficiency levels or cultural backgrounds, & Hoonan, 2000) manifested through “hyphenated, plural, Kramer (2000) argues that “appropriately selected songs can or multiple literacies that acknowledge the diversity of infor- [...] serve (like pictures) as a type of comprehensible input mation sources and media that people access, negotiate, and or form of realia that packages language rules into extralin- redeploy in everyday contexts” (Luke, 2003, p. 398). guistic context” for language learners (p. 1), making them The use of music as inspiration to meaningful literacy more receptive to this art form. This means that in times of experiences and as a medium to engage learners makes a case MTV’s and VH1’s video countdowns, Billboard.com’s Hot for approaching literacy as a sign system that sparks the mul- 100, YouTube, Pandora, and iTunes, educators must know tiple ways human beings create meaning and communicate it. which songs are popular among their students and their fami- Moreover, according to Albers, Holbrook, & Harste (2010), lies while turning on their assessment radars.

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Regarding popular music, Mur- ferent ways of making sense of their represented populations. There were phey (1992a) argues that pop songs environment (p. 41). brochures announcing free or low cost have an alluring quality, “a simple and In a study about students’ and services at the entrance, hand crafted affective language,” (p. 771) that can teachers’ perceptions of using music in art projects bringing a kaleidoscope of elicit a unique mental process: the second language learning in Vietnam, color to light-beige walls in the main unconscious rehearsal of a song, also Huy Lê (1999) found that “English room, and a small bookshelf with known as the “song-stuck-in-my-head music was highly valued” in pedagogy what appeared to be old books, most phenomenon” (p. 773). This is indeed and literacy development (p. 1). In ad- of them in English and written by U.S. a fascinating statement with which dition, research on the effects of sing- Caucasian authors. many of my students and partnering ing combined with signing on vocabu- This was one of many meetings; families have agreed by sharing color- lary acquisition found that ELLs who the first of many new noises, voices, ful examples during classroom discus- engaged in these activities “performed and musical memories, of many con- sion. For those of us exposed to music significantly better than did [those] versations about the families who vis- in multiple languages, we realized, it who rehearsed new vocabulary by ited and benefited from services at can happen alternatively with songs in, speaking only” (Schunk, 1999, p. 121). Lynn. As someone deeply invested in say, Spanish or English. In the end, my experience has advancing her community, the liaison Interestingly, when participants taught me that culturally and linguisti- often shared the strengths, needs, and ask for texts on this topic, I let them cally diverse families are very receptive concerns of the families. Some of the know there are few books dedicated to dialogue with well-informed teach- aspects I learned included the family’s solely to music and English language ers who draw on relevant research, the- lack of resources and understanding of learning (Murphey, 1992b). Also, be- ory, classroom experiences, and best the U.S. school system and their con- cause this book is written in English, practices; they are also eager to learn cerns about the educación of their chil- it is not accessible to all readers. To with them in educational workshops. dren in the Midwest. supply the demand for instructional Later, these ideas guided the plan- materials tailored to Latino/a families, The Context ning of a various collaborations with our workshop provided a repertoire graduate students and faculty mem- of content area and literacy strategies This is a fragment of the story, a bers—including conversatorios, work- using the families’ home language and verse in the long song, of how I came shops, and family-oriented activities— the language of their children’s school- to partner with a group of dedicated focused on literacy development and ing and context, English. In addition and charismatic Latino/a families in language arts. In my case, I wanted the to inquiries concerning strategies and the Midwest. I met the liaison for the focus of my workshop to be music. resources, Latino/a families are often Lynn Community Center in early 2011, In the past, I have had amazing interested in research studies. when a colleague and I were planning experiences when integrating music Research on employing music a series of collaborative initiatives for into college-level English classes and with culturally and linguistically diverse Latino/a parents, guardians, and their workshops for teachers. In particular, I learners has shown positive results. children. During my first visit, I had knew I could draw on pop music from For instance, in a study of relative ef- the opportunity to talk with some of Latin America, the Caribbean, and the fectiveness of music with adult ELLs, the mothers and their little (and not United States to lure culturally and lin- Li and Brand (2009) found that par- so little) ones, as I explored the Cen- guistically diverse learners. ticipants who were “exposed to the ter’s facilities—the modest chairs and The 11 participants who registered most music” obtained higher scores in tables where seniors had their coffee for the workshop were mostly of Mex- language-based post and delayed tests and chatted about life and the good old ican descent, both rural and urban, and (p. 73). Meanwhile, Pane and Salmon days. with diverse academic backgrounds: (2011) found that “music facilitated Similar to many venues in my some had completed elementary, mid- children’s literacy development in an home country, there is a latent strength dle school or high school while others inquiry as learning environment” that and charisma organic to community held college degrees. Based on my ob- prompted participants to explore dif- organizations that serve mostly under- servations and dialogues with some of

58 laJM, Fall 2012 Ileana Cortes Santiago the participants during previous activi- The following three main themes evaluated, and suggested new songs to ties, I would rate their Levels of English transpired during the workshops and add to a collective play list (Kramer, Language Proficiency between Level are further developed in individual ses- 2000) while reflecting how their music 1—Starting and Level 4—Expanding sions: music and social justice, music choices tapped into unique aspects of (TESOL, 2006). Also, most partici- and conceptual knowledge, and music their identities; thus, choosing songs pants arrived with their children and and literacy development. by artists such as Alejandro Fernández sat as I prepared the equipment, CD and Selena, two prominent Mexican/ Mexican American singers, allowed for player, handouts, and materials. At this Music and Social Justice the reconstruction of important family point, I know their names and most of Drawing on multiple theories and experiences and critical literacy conver- the names of their sons and daughters. scholarship on social justice, Zeichner sations about cultural ties and national In all honesty, I enjoy sharing with this (2009) has come to define the term as identity. For instance, Selena’s use of group of parents and guardians; their the symphony of two areas: “recogni- esperanza—hope—in her popular song commitment is evident. tion (caring and respectful social rela- “No me queda más” can become a tions where all individuals and groups symbol of strength against the adversi- The Workshop: “Cantemos en are treated with dignity) and redistribu- ties of life in a new context. Español e Inglés” tion (where there is a fairer distribution An example that livened the room of material differences)” (p. xvi). and opened the door to the sharing of Throughout “Cantemos en es- During the workshop, the families personal connections to home coun- pañol e inglés,” I had the opportunity had access to materials and resources tries and traditions was the singing of to share with Latino/a families effec- carefully developed and chosen ac- “Corazón contento” by Palito Ortega, tive techniques on how to use music cording to their cultural and linguistic a famous Argentinean singer; here, in Spanish and English to prompt and backgrounds and were offered guid- participants chuckled, sang along, and scaffold student literacy learning, par- ance on techniques conducive to lit- brought back sounds and discourses ticularly as it applies to ELLs. I was eracy development. When I offered from younger days. Moreover, they guided by instructional approaches explanations and scaffolded conversa- were actively involved via critical dis- suggested by Gibbons (2002) who pro- tions, I constantly code-switched from cussions of possible ways to adapt motes drawing on participants’ previ- English to Spanish (and vice versa) and some of the strategies and songs to ous knowledge and culture; modeling used leveled questions—or questions make them part of their literacy rou- instruction and building conceptual tailored according to the participants’ tines. understanding or general ideas; scaf- language proficiency levels that serve For one of the moms, this meant folding learning; and engaging in to elicit responses from them (Herrel highlighting vocabulary, making visu- & Jordan, 2012)—to foster active, for- als, but most of all, enjoying a musi- hands-on collaborative work. mative participation. cal experience with her sons. Also, it is Overall, these strategies are con- By creating the necessary con- important to note that participants re- sidered best practice when working ditions for Latino/a parents and ceived a comprehensive handout with with ELLs, but are also an excellent guardians to establish meaningful tips, ideas, and recommendations (Fig- fit when working with native English connections and contribute to the de- ure 1) for an adapted version of this speakers in language arts instruction. velopment of ideas and strategies, the document for teachers). Because I knew all participants shared small workshop room at Lynn Center As I reconsidered the value of Spanish as L1, I incorporated both became a space of “caring and respect- music and social justice when teaching English and Spanish in all materials, in- ful social relations” (Zeichner, 2009, p. diverse adult learners, I am reminded cluding the PowerPoint® presentation, xvi). of the powerful role of culture and handouts, and additional documents. For example, as I alternated be- home values (Valdés, 1996) and per- This has been standard practice in all tween the use of English and Spanish, sonal preferences among Latino/a collaborative initiatives with Latino/a participants had time to think about families when teaching English as a families. ideas and take notes. Further, they sang, content area. In light of this, I share

LAJM, Fall 2012 59 song recommendations in English and As I always do, I walked around edge nurtured in this child/young adult Spanish for social justice: “Redemption the tables, moving from an outspoken will likely find its way into the English Song” by Bob Marley; “Beautiful” by and vivacious group of mothers/care- classroom, in a literature lesson. This Cristina Aguilera; “Do you Know the givers to one of the most introverted mom’s conscious and detailed conver- Enemy?” by Green Day; “One” by U2; participants. I was intrigued and very sations cultivated a thirst for inquiry. “Al Otro Lado del Río” by Jorge Drex- excited to learn what she had been In the end, my dialogue with her fo- ler; “Desapariciones” by Maná. working on, so I sat next to her and cused on highlighting the formative asked, “¿Que haces mamá? / What nature of her mother-son exchange; I Music and Conceptual are you doing mom?” In response, she also offered scaffolding techniques and Knowledge shared with me an important conver- explored with her additional options to sation she had had with her child that foster more of these exchanges. Aguilar, Fu, and Jago (2007) high- took place as they listened to a popu- For this participant, her connec- light the importance of concept learn- lar song. It all began with her singing tion to a song mediated a critical con- ing as individuals engage with ideas of Mana’s “Si no te hubieras ido” at versation. For other educators, espe- and expand their understanding of home, and her recollection of a con- cially practicing teachers, here is a brief them; thus, they ‘name’ and redefine versation about longing and love. The list of songs I have used to build con- them in their own terms. song reads as follows: “No hay nada ceptual knowledge. It is important for teachers to scaf- más dificil que vivir sin ti, / sufriendo fold students’ developing knowledge en la espera de verte llegar, / el frío de Metaphors and Similes beyond the memorization of terms mi cuerpo pregunta por tí [...].” This Train, “Drops of Jupiter” and towards a more profound under- excerpt presents a claim of loss and Katy Perry, “Firework” standing of concepts by deconstruct- difficulty with coping; the term frío Rihanna, “Umbrella” ing the language, building meaningful depicts the deep sadness that makes Kelly Clarkson, “Stronger” connections via dialogue, and exposing one’s skin shiver. Whether in English Smashmouth, “I’m a Believer” students to discourse (Keene, 2007). or Spanish, this caregiver’s profound The Muppets, “Life’s a Happy During the workshop, I incorporated conversation included the explanation Song” concept development in a number of of metaphors and sensory imagery as Seguridad Social, “Un Beso y una it relates to human emotion. ways. One of the best examples trans- Flor” (Spanish) Her chosen song also allowed for pired during a hands-on activity. Jesse y Joy, “Espacio Sideral” a personal connection with the home The activity asked students to (Spanish) language, while strengthening impor- think about a possible lesson using tant components of the language arts music that was related to language Characterization curriculum. Similar to the rich use of arts (e.g., characterization, rhetorical Journey, “Don’t Stop Believing” the word “cold” in “My Girl” by The figures) or literacy (e.g., reading, writ- Alejandro Sanz, “Toca Para Mi” Temptations (“When it’s cold outside, ing, speaking, drawing, crafting, among (Spanish) I got the month of May”), her cho- others). I had already introduced these Atención, Atención, “El Sapo” sen song contained sensory imagery (Spanish) terms before, so the participants fo- teachers can drawn on to develop stu- cused on developing multiple ideas that dents’ understanding of abstract terms. Music and Literacy echoed Lems’s (2005) suggestions for Teachers can further use these exam- Development literacy activities: using visuals paired ples to demonstrate how metaphors, The cloud of energy that ema- with terms and sentences, developing for instance, are not elite rhetorical fig- nates from a group of people singing questions to have a meaningful conver- ures found solely in literature, but are a a song and experiencing the multiple sation about a specific song, and using recurrent and organic part of every day sentence strips to divide the songs into discourses (Lukin, 2008). ways music can enrich literacy devel- parts and then ask students to recon- Whether read or sung in English opment is amazing. As researcher and teacher, Lems (2005) claims she enjoys struct them. or Spanish, the rich conceptual knowl-

60 laJM, Fall 2012 Ileana Cortes Santiago being around people interacting with In this exercise, receptive skills Parts of Speech: Pronouns music because it brings forth power- (i.e., listening to the pronunciation by Bon Jovi, “It’s my Life” ful responses from them. In the past, means of the singer’s and their peers’ Bill Medley and Jennifer Warnes, I have had students who combine voices) and productive skills (i.e., sing- “(I’ve had) The Time of my Life” singing with dancing, drawing, using ing, reading from the handout) were Selena, “No me Queda Más” objects to generate alternative sounds, supported. (Spanish) signaling, laughing, writing, recording After years of conducting many themselves—hence, they employed collective sing alongs similar to this Parts of Speech: Adjectives and communicated through a mul- one, there are aspects that participants Louis Armstrong, “What a Won- tiplicity of signs in meaning making almost always highlight from the ex- derful World” (Berghoff, Egawa, Harste, & Hoonan, perience—whether they be families, 2000; Luke, 2003). students, teachers: first, there is always Final Thoughts One of the first rules of incor- vocabulary they claim “they did not As a content area and literacy porating music into the classroom is know,” even with familiar songs; sec- and language educator, I find myself that teachers must be willing to engage ond, having the lyrics at hand and play- in the conundrum many teachers face with music in multiple ways—including them on the screen karaoke-style everyday: meeting the needs of cultur- ing singing solo for the first time, as helps them connect sounds and mor- ally and linguistically diverse students it has been my experience—to foster phemes in the printed words; third, while making language arts curriculum an environment that makes all stu- they can sing in English and want to exciting and accessible to all learn- dents feel relaxed excited, comfortable continue doing it after the song is over. ers—whether they be parents, guard- (Lems, 2005). In the workshop, I asked Oftentimes, these discoveries elicit the ians, young adults, or children. Music the parents/guardians to share artists exploration of meaning in relation to has an organic appeal and the power they liked and/or songs they enjoyed. phonemic and morphological aware- to spark the interest and creativity of I did not present them with language ness. learners to identify and make connec- or any additional constraints; thus, the Here is a short list of songs I have tions with their identity; music can also responses varied in genre and language used in literacy development lessons: make teaching and learning English preferences. equal parts entertaining and challeng- Later, I shared with them a short Narrative Writing ing. Thus, educators can incorporate list of songs in English I had garnered Nine Days, “Story of a Girl” music into their classroom and use it after careful observation of their inter- Bon Jovi, “Living on a Prayer” to connect with their students’ families. actions and dialogues at Lynn. In con- Maná, “El Muelle de San Blás” In “Cantemos en español e inglés,” trast to our Spanish repertoire of mu- (Spanish) I engaged with participants by drawing sic at the beginning of the workshop, on music in English and Spanish and this time, the song had to be in Eng- Argumentative Writing presenting topics integral to the Eng- lish, because I wanted them to give it Gotye, “Somebody that I used to lish curricula that I had implemented a try. They chose “I Believe I can Fly” Know” with my students as educator in the Ca- by R. Kelly. ribbean. Informed by theories that at- I played a lyric video from You- Reflective Writing test to learner’s engagement with mul- Tube, which is video produced by us- Michael Jackson, “Man in the tiple sign systems, I hope the ideas and ing the song and displaying the lyrics Mirror” strategies we shared serve as testimony as it plays, on the white screen. Some Hoobastank, “The Reason” of Latino/a families’ commitment to participants stared at the screen while literacy education and as an invitation others focused on the printed copy and Comparison and Contrast to educators to keep making English began to sing. I was happy to observe R. Kelley, “I Believe I can intellectually stimulating and fun. many of them writing and taking de- Fly” tailed notes on their handouts as they followed.

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References Medina, S. L. (2002). Using music to enhance second Aguilar, C. M., Fu, D., & Jago, C. (2007). English Language language acquisition: From theory to practice. In J. Learners in the classroom. In K. Beers, R. E. Lalas, & S. Lee, Language, literacy, and academic development Probst, & L. Rief. Adolescent literacy: Turning for English language learners (pp. promise into practice (pp. 105-125). Portsmouth, NH: N/A). NY: Pearson Educational Publishing. Heinemann. Medina, S. L. (2003). Acquiring vocabulary through story- Albers, P., Holbrook, T., & Harste, J. C. (2010). Literacy songs. MEXTESOL, 26(1), 13-18. researchers as practicing artists. Journal of Adolescent & Murphey, T. (1992a). Music and song. Oxford, NY: Oxford Adult Literacy, 54(3), 164-171 . UP. Berghoff, B., Egawa, K., Harste, J., & Hoonan, B. (2000). Murphey, T. (1992b). The discourse of pop songs. Beyond reading and writing: Inquiry, curriculum, and TESOL Quarterly, 26(4), 770-774. multiple ways of knowing. Urbana, IL: NCTE. Pane, D. M., & Salmon, A. (2011). Author’s camp: Facili- Edwards, L.C. (2013). Music and movement: a way of life for the tating literacy learning through music. Journal of Reading young child. NY, NY: Pearson. Education, 36(2), 36-42. Gibbons, P. (2002). Scaffolding language, scaffolding learning: Schunk, H. A. (1999). The effect of singing paired with Teaching second language learners in the mainstream classroom. signing on receptive vocabulary skills of elementary ESL students. Journal of Music Therapy, XXXVI(2), 110- Portsmouth, NH: Heinemann. 124. Herrell, A. L., & Jordan, M. (2012). Leveled questions: TESOL. (2006). PreK-12 English Language Proficiency Adjusting questioning strategies to the language levels Standards. Alexandria, VA: United Graphics Incorpo- of students. In A. L. Herrell, & M. Jordan, 50 rated. strategies for teaching English Language Learners (pp. 103- Valdés, G. (1996). Con respeto: Bridging the distances 107). Boston, MA: Pearson. between culturally diverse families and schools. NY, NY: Keene, E. O. (2007). The essence of understanding: A wake- Teachers College Press. up call. In K. Beers, R. E. Probst, & L. Rief, Zeichner, K. M. (2009). Teacher education and the struggle Adolescent literacy: Turning promise into practice (pp. 27-38). for social justice. NY, NY: Taylor & Francis. Portsmouth, NH: Heinemann. Kramer, D. J. (2001). A blueprint for teaching foreign Song References languages and cultures through music in the classroom Armenteros, J. L., & Herrero, P. (1972). Un beso y una flor and on the web. ADFL Bulletin, 33(1), 29-35. [Recorded by Seguridad Social]. On Un beso y una flor. Le, H. (1999). The role of music in Second Language Miami Beach, FL: Warner Music Latina. (1995). Learning: A Vietnamese perspective. Retrieved June 10, Armstrong, B.J., & Green Day. (2009). Do you know the 2012, from http://www.aare.edu.au enemy. On 21st century breakdown [CD]. New York, Lems, K. (2005). Music works: Music for adult English NY: Reprise. Language Learners. New Directions for Adult and Atención, Atención. (2010). El sapo [Recorded by Atención, Continuing Education, 107, 13-21. Atención]. On De viaje con el Sr. Sapo y Vera: En vivo Li, X., & Brand, M. (2009). Effectiveness of music on [CD]. San Juan, PR: CD Baby. vocabulary acquisition, language usage, and meaning Backer, W. (2011). Somebody that I used to know [Recorded for mainland Chinese ESL learners. Contributions to by Gotye featuring Kimbra]. On Making mirrors [CD Music Education, 36(1), 73-84. single, digital download]. Sydney, Australia: Eleven. Luke, C. (2003). Pedagogy, connectivity, multimodality, and Bono, U2. (1990). One [Recorded by U2]. On Achtung baby interdisciplinarity. Reading Research Quarterly, 38(3), [CD]. New York, NY: Island. 397-403. Drexler, J. (2004). Al otro lado del río. On Eco [CD]. New Lukin, A. (2008). Reading literary texts: Beyond personal York, NY: Wea International. responses. In Z. Fang, & M.J. Schleppegrell. Reading in Cain, J., Perry, S., & Schon, N. (1981). Don’t stop believing secondary content areas: Language based pedagogy (pp. 84- [Recorded by Journey]. On Escape [Single Format, 7” 103). Ann Arbor, MI: The University of Michigan Press. vinyl]. New York City, NY: Columbia.

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Colin, C., Stafford, J., Monahan, P., Hotchkiss, R., & Ortega, P. (1968). Corazón contento. On Palito Ortega y sus Underwood, S. (2001). Drops of jupiter [Recorded by exitos [CD]. Mexico: Orfeon. Train]. On Drops of jupiter [CD] New York City, NY: Perry, L. (2002). Beautiful [Recorded by Cristina Aguilera]. Columbia. On Stripped [CD]. New York, NY: RCA. Maná (1999). Desapariciones [Recorded by Maná]. Perry, K., Eriksen, M. S., Hermansen, T. E., Wilhelm, S., & On Maná MTV unplugged [CD, digital download]. Sánchez, A. (1991). Toca para mi. On Alejandro Sanz: Mexico, DF: Warn Music Mexico S.A. de C.V. MTV unplugged [CD, DVD]. Miami Beach, FL: Maná (2008). Si no te hubieras ido [Recorded by Maná]. Warner Music Latina. On Arde el cielo [CD, digital download]. Mexico, DF: Robb, D., Estrin, D., Hesse, C. L., & Lappalainen, M. (2004). Warn Music Mexico S.A. de C.V. The reason [Recorded by Hoobastank]. On The reason Dean, E. (2010). Firework [Recorded by Katy Perry]. [CD]. New York City, NY: Island. On Teenage dream [CD, digital download]. New York Olvera, F., & González, A. (1998). Elmuelle de San Blás City, NY: Capitol. [Recorded by Maná]. On Sueños líquidos. Miami Beach, Diamond, N. (1966). I’m a believer [Recorded by Smash FL: WEA Latina. Mouth]. On Smash mouth [CD, CS, DI]. Santa Monica, Previte, F., DeNicola, J., & Markowitz, D. (1987). (I’ve had) CA: Interscope. (2001). The time of my life [Recorded by Bill Medley and Elofsson, J., Tamposi, A., Gamson, D., & Kurstin, G. Jennifer Warnes]. On Dirty dancing [Vinyl 7” single, (2012). Stronger [Recorded by Kelly 12” maxi, cassette, CD single]. New York, NY: RCA. Clarkson]. On Stronger [CD, Vela, R. (1994). No me queda más [Recorded by Selena]. digital download]. New York City, NY: RCA. On Amor prohibido [CD single, Vinyl 12” single, cas- Garrett, S., & Ballard, G. (1988). Man in the mirror [Record- sette]. Miami Beach, FL: EMI Latin. ed by Michael Jackson]. On Bad [Vinyl 7”, 12”]. New York, NY: Epic. Ileana Cortés Santiago is a Ph.D. student in Literacy & Hampson, J. (2000). “(Absolutely) Story of a girl” [Re- Language (L&L) Education (Strand: English Education) at corded by Nine Days]. On The madding crowd [CD]. New Purdue University. She is also pursuing a master’s degree in York, NY: Epic Records L&L with an emphasis on English Language Learning at Pur- Huerta, J. E., & Huerta T. J. (2006) Espacio sideral due and holds a MA in English from the University of Puerto [Recorded by Jesse & Joy]. On Esta es mi vida [CD]. Rico. An educator at heart, she has taught Caribbean English Mexico, DF: Warner Music Mexico. language learners at the college level in public and private Jay-Z, Harrell, K., Nash, T., & Stewart, C. T. (2007). universities in Puerto Rico. Ileana enjoys offering workshops Umbrella. [Recorded by Rihanna featuring to educators and community members on challenging and Jay-Z]. On Good girl gone bad [CD, single, engaging literacy practices. digital download]. Def Jam. Jovi, B. J., Sambora, R., & Child, D. (1986). Living on a prayer [Recorded by Bon Jovi]. On Slippery when wet [Vinyl 7”, 12”, CD]. New York, NY: Mercury Records. Jovi, B. J., Sambora, R., &, Martin, M. (2000). It’s my life [Recorded by Bon Jovi]. On Crush [CD]. New York, NY: Island. Kelly, R. (1996). I believe I can fly. On R. Kelly [CD single, cassette single]. New York, NY Atlantic/ Jive. Marley, B. (1980). Redemption song [Recorded by Bob Marley & the Wailers]. On Uprising. Kingston, Jamaica: Island/Tuff Gong. The Temptations. (1998). My girl. [Recorded by The Temp- tations]. On The Tempta tions Sing Smokey [single 7”]. Detroit, MI: Motown Record Company, L.P.

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Figure 1. How to Build a Successful Play List

• Keep your audience, the students, in mind. What do they like? Which tunes and/or songs are akin to their identities? • Songs must be appropriate to the students’ ages and English proficiency levels; for beginning levels, lyrics should be very clear [e.g., Levels 1 and 2—short words (high frequency), repetitive, short sentences, rhyme]. • Build a “classroom play list” that comprises myriad musical styles to reach as broad an audience as possible. • The text and content of the songs should allow for various activities/pedagogical approaches. • “The singer’s diction must be clear, so that students can easily understand the lyrics” (p. 3). • Think multilingual and multicultural! Upon conversing with students and their families, se- lect one or two songs in their home language, and then give them agency to enrich the classroom play list. • Develop engaging lessons that draw on learners’ diverse languages and cultural backgrounds. For instance, if you do not speak Far- si, consult with the language teacher or contact community services and language centers in academic institutions nearby. • Find a recording of the song. Dialogue with students—no illegal downloading. o Purchase, reproduce, and leave copies for them to use in a reference section or media library. • Transcribe the lyrics for handouts. • Label songs clearly—as suggested by Murphey (1992b), include full title, artist, copyright information. • Ideas adapted from Kramer (2000).

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