By Anne Haas Dyson
Right here, Anne Dyson lines the effect of a wide-ranging set of "textual toys" from kid's lives - church and hip-hop songs, rap song, videos, television, conventional jump-rope rhymes, the phrases activities announcers and radio deejays - upon institution studying and writing.
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Extra resources for The Brothers and Sisters Learn to Write: Popular Literacies in Childhood and School Cultures
Equally definitively) WENONA: “Baby boy”? (tentatively) VANESSA: Ok, ok. } Having agreed, Vanessa, as lead singer, now reissues that agreement as a directive: VANESSA: OK. Y’all gonna say “baby boy,” OK? Then she does the count down and begins singing: VANESSA: 1, 2, 3. (spoken) No body can tell me 46 The Brothers and Sisters Learn to Write to tell me who I see to tell me when I move OO oooh ... And the backup soon comes in, soft and smooth: DENISE WENONA } Baby boy (backup) Even though the children’s efforts were “make-up,” they composed coherent stanzas through semantic consistency and repetitive structures that were genre appropriate.
Moreover, the data sets themselves stretched across the literacy activities of the classroom day and, also, across the time span of an academic year. Analyzing such a morass of data did not happen in a month—or even a year—but stretched over time. I aim, in these introductory comments, only to give a sense of the basic procedures, leaving the details to be spread more comfortably over the chapters to come. To find my way into the textual tangles of the children’s productions, I used as my basic organizational unit a child’s production event, that is, all of the child action and interaction that occurred during the production (and/or the interpretation) of a text.
But I do remember that my “father” was Sky King (a do-gooder air pilot on a television show), my own having died Mapping the Cultural Landscape 43 too soon (Jack Chertok Productions, 1951); part of the appeal of that father was his being very busy, and so his ward and niece, Penny, actually had quite a bit of freedom (much the same appeal of the textual Nancy Drew’s [Stratemeyer, 1930] usually absent father). I also remember my glamorous future as a teenage radio star, which competed with my sanctified future as a nun who would, nonetheless, have 12 children (following a bit enthusiastically in the path of Mary).