Think Multimodality: It Makes it Much Better.
I went through a
traditional system of education that utilized minimal modalities in teaching
and learning. My initial reaction to multimodality was therefore both
excitement and uncertainty. Excitement because I could see just how beneficial
and fun it would be to incorporate multimodality in my classroom, but uncertain
whether I am really able to apply multimodality considering that it is
relatively a new concept to me. Well, experience, though minimal, has been
gained. Here are ideas to get you thinking multimodality
and hopefully, get you started!
What is multimodality anyway?
Come to think of
it: what if the only means of communication was through words to be read and
spoken. The world would be a boring place. In addition to written texts,
multimodality allows for the incorporation of auditory elements, such as speech
and music and Visual elements such as images, video, colors, animations and so
forth in the composition of text. With multimodality, students are exposed to a wide variety of ways of composing persuasive texts for different audiences in different
contexts.
In designing
multimodal assignments, you could ask students to present their assignments in
various forms such as:
●
Documentaries
●
Websites
●
Posters
●
Podcasts
●
Powerpoint
presentations
●
Infographics
●
Collages
●
Word
clouds
●
Photo
essays
Why Bother?
In Multimodal
Composition: Resources for Teachers, Pamela Takayoshi and Cynthia L. Selfe
sum up the objective of composition instructors pretty well: “To teach students
effective, rhetorically based strategies for taking advantage of all available
means of communicating effectively and productively, to multiple audiences, for
different purposes, and using a range of genres” (9). Multimodality makes this
goal achievable! In additions, Takayoshi and Selfe point out that in the
increasing technological world, there is a need for students to acquire skills
in composing texts in multiple modalities so as to successfully communicate
within the digital communication networks (3.) Writing in the modern age requires
creativity and persuasion that goes beyond reading and writing.
Students
interact actively with multimodality outside the classroom. In bringing this
concept into the classroom, students are able to transfer the knowledge they
learn in the classroom to their social and professional engagements outside the
classroom, in this way, they remain relevant in today’s academia and
professional fields. In addition, multimodality provides students with an
opportunity to effectively express themselves in ways that written texts may
limit. Takayoshi and Selfe point out that “aural and video compositions
sometimes reveal and articulate meanings students struggle to articulate with
words; audio and visual compositions carry different kinds of meanings that
words are not good at capturing” (4). Therefore, multimodality is a means to
effective communication. Another important need for multimodality is that it
positively influences students’ responsiveness in the classroom. Takayoshi and
Selfe acknowledge that multimodality has been seen to engage students in their
compositions in such a way that “they push themselves beyond the boundaries of
the assignments and demonstrate learning that goes well beyond teachers’
expectations as they begin to understand how multimodal texts look, act, and
function” (4). In this way, students are able to realize their potentials and
utilize them effectively in the learning process for better performance.
Aspects to Consider
One important aspect to think about in multimodality is
composing. A multimodal assignment should align well with the teaching and
learning of composition and at the same time be an important knowledge making
activity for the students. In Multimodal
Composition: Resources for Teachers, Mickey Hess points out that
"teachers who compose the best assignments, then, don't outline a
step-by-step procedure for students to follow; instead they create assignments
that prompt writers to think in new ways" (29). While composing multimodal
composition, the instructor should consider the reasons why they want to
integrate multimodality and also consider “which assignments are amenable to
the affordances of different modalities.” Secondly, it is important for the
instructor to give the students an opportunity to make their own choices as
this boosts creativity and lastly, instructors should consider the circulation
of multimodal projects outside the classroom (30)
One way to work on multimodal
projects is through collaboration. Considering the size of the classroom, the
size of the project and the time frame, instructors may group students to work
on multimodal projects in teams. According to Anne-Marie Pedersen and Carolyn
Skinner in Multimodal Composition: Resources for Teachers, advantages of collaboration include: students can
draw on shared knowledge of technology and of audio and video composition.
Secondly, students can support and encourage each other in their work and
finally students can use time, space, and technological resources effectively
especially in situations where these resources are limited (40-42) Though there
are various challenges that may be encountered in collaboration (especially
when you have a large class and limited resources or when team members don’t
seem to agree on some elements of the assignment), teachers can design
multimodal projects in such a way that students are able to navigate this
challenges and hence allow for an effective and collaborative learning
process.
One major challenge that is faced in multimodal projects is
the time that goes into the process. This also may arise especially when you
have a large class and limited resources and students have to take turns in
working on an assignment. In addition, in case students have to make
presentations on their projects, it may have to stretch into a number of class
periods to get through with everyone. One way to address this could be through
designing multimodal projects that can be completed within the time frame
available. However, it is clear that despite being time consuming,
multimodality is an important complement to the learning process.
Getting
Started
With all these in mind,
here are some suggestions to get you going.
- One step at time. You may feel you
know little to ‘nothing’ about technology. But we all begin from
somewhere. Start experimenting with the little you know and are
comfortable with applying, for example designing projects that require PowerPoint
presentation, then gradually move to more advanced concepts. Multimodality
in the classroom is a learning process for both the teacher and the
students. As you learn, you gain experience and grow in your skill with
multimodality.
- Use available technology. Some institutions
may have limited technology for students to utilize in multimodal
projects. In such a case, design your projects in such a way that students
are able to utilize the resources available without having to go out of
their way to work on an assignment.
- Collaborate with colleagues. Ask
for help! No one knows everything about everything. But when two heads get
together, knowledge and idea are exchanged and in the process solutions
are reached. Ask your colleagues for help on areas that you might find challenging.
You could, for instance, adapt some of their previous assignments and
model them to suit your needs (of course with their permission).
- Learn from your students. This
might seem out of order but the truth is, when you give your students
choices on working on a project, chances are, some of them may come up
with ideas that you personally had not thought about. Use this
opportunities to learn how best to structure your classes in the future
and what ideas you could incorporate in future assignments.
- Talk to your students about the
need for multimodality! This way, you remind yourself why multimodality is
important.
Remember: “In internationally networked digital
environments, texts must be able to carry across geo-political, linguistic, and
cultural borders, and so texts must take advantage of multiple semiotic
channels.” (Pamela Takayoshi and Cynthia L. Selfe.)
Reference: Cynthia Selfe
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