Transcript of Multimodality Literacy Project

Introduction:

As a child, my school was my safe space. And without my wonderful early-year teachers, I wouldn't have been as motivated to pursue higher education or fully grasp the power of knowledge. But when I reflect on my academic journey, I recognize that my most cherished memories of learning have taken place outside the conventional classroom. In this sense, I find that learning exists not just in a traditional academic setting, but learning environment exist in cultural systems, within people and sometimes through our own adventures. As you play through the game of my literacy autobiography, I hope you too  can see that education truly exists everywhere, and that you have an enjoyable experience as well. Thank you!

The Arcade: Paulo Freire and Banking Education in Video Games:

Welcome to the arcade! As you might expect from the modality I have chosen to use for this project, video games are a huge passion for me. While they are extremely fun and a great way to spend time with friends, I also believe in their potential to be applied in the classroom or other learning contexts. I started playing video games at a very early age like most children. Either on an iPad, or the family desktop, just to pass the time and for my own entertainment. At this age, I had exposure to a lot of different games. Video games taught me persistence and grit when I pushed through difficult puzzles. They were also a medium of storytelling extremely capable of immersion and relaying empathy. There were also games, of course, that had education embedded within them. I recall attending a STEM summer camp, and remember the program utilizing popular games such as Minecraft or Roblox to teach us about science, math and coding. I distinctly remember how much more interactive these lessons were. In that moment, I discovered the power of active learning and recall. Just like learning a language, lessons are best taught when you are an active participant. Being able to think critically and in the moment is the best way to ensure the topics you are learning are relevant and important to you. For the longest time, I had the impression that the absorption of academic material could only be achieved through monotonous memorization, passive aquisition and other hallmarks of institutionalized Banking Education. Paulo Freire defines 'Banking Education' in the following quote-"This is the 'banking' concept of education, in which the scope of action allowed to the students extends only as far as receiving, filing, and storing the deposits.(Freire)." The overarching pitfall of Banking Education is that it is impersonal. It ignores the actual self and identity of the student in pursuit of delivering academic material. The student becomes encouraged to become a memorization machine, a repository, or a passive audience member. In contrast, the medium of interactive games is the complete opposite. Without some sort of action or response from the user (An input, such as moving the mouse or clicking a game cannot progress. In this sense, any game used in an educational context essentially employs the values and hallmarks of problem-posing lesson plans. Whilst discussing the concept of problem-posing based learning, Freire notes-"Liberating education consists in acts of cognition, not transferrals of information. " At any level in a game, instead of receiving information, you are expected to use that information as well. This sort of call-to-action manifests in a variety of ways, where the student can now control the pace, intensity and rhythm of a lesson plan. At the moment, I am seeing the potential of video games as a learning tool in real time. My current position as a research assistant in the Risk Resilience Lab has shown me how video games cannot only teach students scholastic material, but also introduce concepts of wellness and emotional learning. Subjects like history and math are extremely important for schoolchildren to uncover, but equally as much are topics such as Conflict Resolution or exercising Mindfulness. These are just some of the topics we cover at the Risk Resilience Lab: Through the development of our two-player cooperative mobile game, we allow students to  work through heated moments together with their peers in a guided environment. I have personally seen the effectiveness of this game in real-time. As a research assistant tasked with overseeing sessions, collecting insight from our players and building rapport with the students, I have witnessed students diagnosed with behavioral conditions find solace and comfort in our after-school video game program. The game we are currently developing and updating is a two-player tower defense game. In this game, you are working with your teammate to protect your respective castles as well as battle against the clock in order to defeat the enemies' castle. However, there are several elements of competitiveness as well as a need for teamwork in order to clear levels. Our system of resource management, merging troops and collecting power-ups all require effective communication, emotional control, level-headed thinking and unbending grit. It is truly awesome to be part of such an energizing field of work and I am deeply excited for the future of this project. Through my early exposure of games, I have found a heartfelt appreciation of problem-posing learning and its applications for broader, altruistic purposes in a standard classroom."

The Kitchen: Multiculturalism in Bakhtin's Definition of Heteroglossia: 

From an outsider's perspective, my family's cultural background sounds like a battlefield: A Korean mother and a Bengali father in the same household might seem like an impossibility or a disaster. Yet, the only destruction I ever witnessed was the number of cooking pans we went through - and even then, the food made was worth it. Growing up, I learned two different lullabies, heard two different languages, and celebrated double the holidays. Entering my home, I was greeted by a misty spirit of turmeric, cumin, and coriander, who lovingly pinched my nose, while the caress of bay leaves, cloves, and ghee pooled at my feet. At night, the pots and pans of my home would sing alongside the rumbling bass of my mother's bubbling kimchi jjigae. When the moon rose last February, I slid into the silky drapery of my mother's pink hanbok, her gentle hands smoothing my unruly hair into a slick, sheer bun. And when the sun sets for Ramadan, my grandmother and I prick our fingers on safety pins, securing each other's glittering patterned saris. Cultural syncretism was my first best friend because I met her in the same place where I took my first steps: this household where I was introduced to the beauty of two very different things harmonizing under the same roof. My experience balancing both cultures taught me early on that diversity is more than a box to check off; it's something a home should have. In this way, my household was my first introduction to heteroglossia. The way I communicated with my family, was heteroglossia in itself. Cultural exhange was not a one-time transcation in my childhood, but rather far more fluid; The interactions shared between the Korean and Bengali spheres of life are organic and real to me. Bakhtin captures the harmonious nature of heteroglossia as a living, constantly-evolving organism when he writes,"As such, these languages live a real life, they struggle and evolve in an environment of social heteroglossia.(Bakhtin). However, I admit that the word 'struggle' doesn't capture how I feel about my discourse. Heteroglossia is sometimes described as an ongoing never-ending dialogue between two ideas, and I can't find a better word to describe how my family communicates with eachother. I picked up slangs from both languages, and made it my own. My polite tone comes from the culturally modest side of my Korean family while my expressive dips in tone and intonation originate from the animated discourse of my Bengali wing of the family. Through the day-to-day disposition of how I speak, I embody the harmonized values and mother tongues of my family's ancestors. And most importantly, I recognize the inherent political significance of my discourse. For me, the way I speak also stands for multiculturalism, inclusivity and pluralism. It is audible proof that people of all cultures can harmonize with eachother, while maintaining a genuinene authenticity and purposeful representation. I believe Bakhtin captures this deeper innate meaning of heteroglossia best when he writes-"All languages of heteroglossia, whatever the principle underlying them and making each unique, are specific points of view on the world, forms for conceptualizing the world in words, specific world views, each characterized by its own objects, meanings and values. (Bakhtin)." In a world that often demands assimilation, the way I speak is my quiet rebellion-- an assertion that cultural coexistence is not only possible but essential. The way I speak is not just a blend of languages, but a living testament to the dialogue between two rich cultural histories. My speech does not erase either identity—it harmonizes them. I find this the true power of heteroglossia.

The Factory: Graffiti and Literacy as Power:

This may be the most unconventional classroom out of them all. But in the pursuit of my favorite hobby, I have learned about the intrinsic empowerment embedded within creating art and enacting literacy. One of my favorite pastimes is to visit abandoned structures and photograph them. This is also known as Urban Exploration. Through analyzing maps, following discontinued train tracks, and sometimes even by word of mouth, I discover a variety of abandoned buildings and areas. These forgotten structures can come in the form of factories, disrepaired homes or public infrastructure with deep overgrowth. They also happen to be the ultimate hotspot for Graffiti Writing. After growing up in New York City throughout my whole adolescence, I had always assumed that I resonated with Graffiti Art because it reminded me of home. However, after reading the Graffiti Manifesto, I realized my appreciation for street art stems from a much deeper place than nostalgia or aesthetic pleasure. One quote stood out to me in particular- "'When the writer understands the role of graffiti in reclaiming her/his humanity, the glow from that star leaves the sky and adiates within them." I feel a deep sense of pride when I see public displays of unapologetic individuality and culture. To witness art made for the sake of art, purely for the sake of creation, is the most genuine representation of the beautiful human spirit. Especially within the context of graffiti especially: this art takes place in abandoned homes. The artist isn't even sure if someone else will see the art in such a deserted area. Nor is there a possibility for monetization or even fame, since most graffiti is done anonymously. Graffiti is one of the truest reflections of art that truly manifests from the innate instinct to create. To create art is to be an individual. Whatever your craft may be, by making something yourself, you exercise autonomy and creative freedom. This philosophy frames that art is inherently political: to be a creator is to retain and exercise your voice, your ideas, and your own individuality. Graffiti, while not a typical form of literacy, is actually extremely empowering for both the viewer and the artist .When I see street art in the abandoned areas I visit, I realize that I am surrounded by examples of Literacy as power. The ability to express one's self is uniquely important because it makes populations more resistant to authoritarian powers and oppression. Art is a tangible act that demonstrates the deliberate importance of your personal voice and, therefore emboldens you to articulate yourself. To create is to claim space. To express is to exist. Scribner states this when she writes-"While functional literacy stresses the importance of literacy to the adaptation of the individual, the literacy-as-power metaphor emphasizes a relationship between literacy and group or community advancement. (Scribner)." Graffiti, like all forms of literacy, is power: because in a world where silence is often imposed, every mark made is a declaration of presence. The community advancement that occurs is the cultivation and establishment of the inner voice, where artistic expression is represented as a direct counter to literal institutions and forgotten infrastructure. It is a form of colorful protest, as well as an art form that inspires others to think and act.

Conclusion and Citations: 

Thank you so much for playing my game. I hope you enjoyed!

Citations:

Bakhtin, M. M. (1981). The Dialogic Imagination: Four Essays. Edited by Michael Holquist, translated by Caryl Emerson and Michael Holquist. Austin: University of Texas Press.

Freire, Paulo. Pedagogy of the Oppressed. Penguin Classics, 2017.

Scribner, Sylvia . “Literacy in Three Metaphors.” American Journal of Education 93.1 (1984)

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