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GRAPHIC have come into their own in the publishing world—and from a critical literacy standpoint, it’s well deserved. Unlike their more tra- ditional text-only counterparts, con- temporary graphic novels trend toward SOCIAL diverse voices and stories, and in the past 10 years the market for these sto- ries has skyrocketed. Nearly every tra- ditional publishing house is seeking to add graphic novels to its list. As a result, publishers are seeking a greater variety of stories and voices from talented but JUSTICE lesser-known authors who might not have been picked up otherwise. This trend is good news for educators who care about social justice. A teacher want- ing to expose her students to diverse perspectives and narratives could do no better right now than to look toward LEAGUE graphic novels. Graphic novels are also slowly escap- ing the stereotype that they are picture includes them as part of her curriculum can be either dialogue or narration. with no value to literacy instruc- in a masters of fine arts program. Images are divided into panels, which tion. Their new status opens avenues “The discussions contain a lot that are separated by gutters laid out strate- for more educators to realize that these we’d consider during discussions of gically on the page. texts can be taught using nearly the prose,” McCafrey says. “We examine McCafrey also notes several exam- same approaches as any other , character development, aspects of plot, ples of opportunities graphic novels fiction or non. Even most state and theme and real-world relevance. Even offer to focus on visual literacy. “We Common Core English Language Arts the discussions of style and tone relate might discuss repeated images that and literacy standards can be taught to style and tone as these are expressed become symbols over the course of a via graphic novels. They can be used in by prose writers.” story. We might also discuss visual style. What is the difference between the style uses and [that of] GRAPHIC NOVELS ARE THE NEW Marjane Satrapi or ? We might discuss stylistic contrasts within SUPERHEROES OF LITERACY INSTRUCTION. a text. In addition, we discuss the rela- tionships between aspects of the story BY PAM WATTS BY HOPE LARSON that are relayed through words and aspects relayed through images.” nearly every subject and are particu- Using graphic novels does, however, The narrative of a graphic is larly valuable as counter-texts in social require a sophisticated set of skills and carried by images instead of words. studies and ELA classrooms. understanding of a few basic differ- Readers often have to infer what has Young adult author Laura Williams ences between illustrated and all-text happened during the transition from McCafrey teaches graphic novels as texts narratives. Setting, pacing, and story one panel to the next, a cognitive leap in her ELA classes at an alternative mid- structure are largely the same, but the referred to as “closure.” Efective use of dle and high school in Vermont and also units used to tell the story difer. Words graphic novels in the classroom helps

54!TEACHING TOLERANCE SPRING 2015%55 Worth a Thousand Words

One of the main dif- culties with teaching literacy standards to English language learn- ers and other students who are not reading at grade level is that the texts they can read are generally not complex enough to meet the appropriate standards. But these students can read much more sophis- ticated graphic nov- els because the brunt of the storytelling bur- den lies in the pictures. A high school student, for instance, with no written English profi- ciency at all can analyze theme, structure, char- EXPOSURE TO DIVERSE VOICES AND EXPERIENCES CAN acter and point of view in a complex graphic REDUCE IN-GROUP/OUT-GROUP PREJUDICES, EVEN WHEN novel like Shaun Tan’s THE EXPOSURE OCCURS THROUGH READING. critically acclaimed The Arrival. In fact, the only Common Core ELA- students analyze how authors juxtapose struggle, conflict, injustice and other highly Literacy standard he images to create moments of closure. emotional topics. (See examples like by could not study with Because closure requires a high level of Art Spiegelman, The Wall by Peter Sis, American that book is standard reader participation, the emotional impact of Born Chinese by Gene Luen Yang and RL.6.4: “Determine graphic novels can be quite high. Particularly if by Marjane Satrapi.) Depending on the artist’s the meaning of words the student is reading about something outside intent, the story might be depicted literally or and phrases as they are his realm of experience, such as the civil rights veiled as an allegory or a counter-text alterna- used in the text.” The movement, closure can generate reader empa- tive to more traditional narratives. In any event, Arrival is wordless. And thy for the characters in the story. This makes social justice content may be both empowering because there are so graphic novels especially valuable to social jus- and unsettling for young readers. many quality interna- tice educators who want to provide their stu- “[Graphic novels] contain powerful tional narratives and dents with windows into multiple identities images, some of which have been used in the stories from diferent and experiences. This approach is an exten- past as stereotypes or slurs,” says McCafrey. cultural perspectives, sion of contact theory: Research indicates that “The presence of these images in the stories they are often more exposure to diverse voices and experiences can forces readers to confront them and discuss directly relevant to the reduce in-group/out-group prejudices, even them. … The stories also include visual repre- experiences of English when the exposure occurs through reading. sentations of protagonists we don’t always see language learners. As with comic books, graphic novels’ smaller represented as protagonists.” cousins, the dramatic impact of these visual Reading and teaching graphic novels through texts lends itself to subject matter related to a critical literacy lens ofers opportunities for

56!TEACHING TOLERANCE Check out our exclusive online extras! k Read author ’s essay about how Martin Luther King and Davis. “Last year, we had a student who the Montgomery Story changed history. bit.do/montgomery wrote his entire about k Watch Congressman explain why he wrote his memior as a a man who lives in his neighborhood series of graphic novels. tolerance.org/john-lewis-video and yells racial slurs at the children when they play outside. When this stu- students to question the text and make text is also a primary source, an artifact of dent shared his project with his peers, a meaning of images and of characters history that played an active role in fur- majority said they had their own stories who, as McCafrey points out, they may thering the civil rights movement. of racism or xenophobia.” not be used to seeing as protagonists. In Another way to extend the learn- The potential for transformation is this way, the draws on the history ing benefits of teaching graphic novels is not lost on Slakey. Although many of of zines, historically created and distrib- to let students create their own. This is his students are reluctant to talk about uted through grassroots eforts to inform the approach that Chris Slakey, an ELA their own experiences with injustice, the and empower specific audiences. In some teacher at De Vargas Middle School in opportunity to tell their stories through cases zines—and even commercial comic Santa Fe, New Mexico, takes through a graphic art allows them to change the books—have been used to spread sub- partnership with the Santa Fe Art Institute power dynamics surrounding their neg- versive images and messages aimed at (SFAI). According to Nicole Davis, an edu- ative experiences. “They can … talk about undermining powerful or unjust entities, cation program associate with SFAI, the things they’ve been through, but through as in the case of the classic underground project started to help students become the creation of these other characters,” Martin Luther King and the more aware of the issues that afect their says Slakey. “It allows them a shield.” Montgomery Story, which served as a non- own lives and neighborhoods. violence primer for African Americans in “A large majority of De Vargas kids Watts is a writer and educator based in the deep South during the 1950s. This deal with a lot of everyday racism,” says in Santa Fe, New Mexico.

A Modern Classic In August of 2013, Congressman John Lewis, a lifelong human rights and simple for another generation to understand, not just my story, but advocate and civil rights activist, released March: Book One, the first a story of a long and ongoing struggle to bring about justice in America.” in a trilogy of graphic novels detailing Lewis’ experiences at The Washington Post declared, “Lewis’ gripping memoir should be the forefront of the civil rights movement. It was a surprise smash stocked in every school and shelved at every .” It is well on its hit, debuting at number one on both The New York Times and The way. March: Book One has already been taught in over 30 states at the Washington Post bestseller lists. postsecondary level with several schools adopting it as common read- More importantly, however, March has quickly captured the imag- ing for all students. Teachers at the middle- and high-school levels inations of thousands of young readers and become a critical resource also report that their students eagerly dive into the visual narrative of for educators seeking creative and engaging materials to deliver the March and learn critical literacy skills and civil rights history at a level history of the civil rights movement into the hands of students. of depth and sophistication not ofered by most traditional textbooks. March: Book One spans Lewis’ youth in rural Alabama, his As identified by Teaching Tolerance, all nine of the essential areas life-changing encounter with Martin Luther King Jr., the birth of for civil rights education (events, leaders, groups, history, obstacles, the Nashville Student Movement, his arrest at a nonviolent sit-in tactics, connections to other movements, current events and civil par- protesting a segregated lunch counter and builds ticipation) can be found within the pages of March. The to a stunning climax on the steps of Nashville City book’s themes—equality, citizenship, agency and col- Hall. In its creation, Lewis drew from his memories lective action—are more than just lessons of history. of Martin Luther King and the Montgomery Story and This vivid rendering of Lewis’ story stimulates both how it helped prepare his own generation to study robust learning about the past and critical thinking nonviolence and join the struggle for civil rights. about current and future events, making March a pow- Lewis intentionally continues this legacy by using erful and urgently relevant title for today’s classrooms. graphic art to bear eyewitness to one of our nation’s March: Book One was co-authored by John Lewis most historic struggles. His writing is personal, the and Andrew Aydin and features the art of . drawings are vivid and dynamic, and the message pow- A free teacher’s guide is avaialble at the Top Shelf erful and provocative. Says Lewis about his motivation Productions website. Look for the release March: Book for writing March, “We wanted to make it plain, clear Two this month!

TOOLKIT Help your students create their own justice-oriented comic strips. visit » tolerance.org/social-justice-league SPRING 2015&57