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Popular culture
Popular culture is the accumulated store of cultural products such as music, art, literature, fashion, dance, film, television, and radio that are consumed primarily by non-elite groups such as the working, lower, and middle class. Comprised of the mass media.
(Pro-popularist perspective)

Theories
Neoloiberalism & Constructivist
Behaviourism
Neoliberalism
Constructivism
Conservatism
Marxism

Theories
School of Rock
Guess what!
Case study
Would this
generation
be
possible
without
Technology?
POPULAR CULTURE IN EDUCATION
EMMA,JOSEPHINE & CLARE
Paradox, Promise and public Pedagogy: Imlications of the Federal Government's Digital Education Revolution.
DER initiative implemented by the Federal Government
National Secodary School Computer fund povides students in year 9 with laptops. Aim: Student - computer ratio 1:1 by 2011
ICT can impove educational opportunities, boost outcomes and energise the learning experiences.
Labour Governments educational agenda a manifestation of globalisation - global emphasis on competition, performance & choice.
Fits in with the discourses that descirbe current generation of students in highschool and university as 'digital natives'.

Public Pedagogy
(Giroux, 2004)
Public spaceproducing new digital and media technologies such as tv, video games, peers, movies or advertising compete with formal educational institutions as sites of learning.
Highlights the importance of formal schooling and it should be better equiped to contest the learning gained from public pedagogies. Formal schooling can counter the mis-education being taught by public pedagogy.
DER a means of allowing students to critically engage with public pedagogy, develop polictical engagement, critical thinking and act as a counter-hegemonic action.

Digital Natives
Prensky's (2001a; 2001b) proposition that students today have grown up exposed to a wide variety of technology; students today are now known as 'digital natives'.
Over 30 ae digital immigrants, not confident or proficient with computers.
Not all students rely on ICT as a major part of their lives or ahve access to ICTs. Highlights the inequalitites in access, ability and students' anxieties in computer use (Facer & Furlong, 2011).
Moral panic (Buchanan, 2011) - confuses the social justice goals of education by erasesing the key differences between young individuals such as SES, differences in access to technology, geographical location, race, ethnicity and gender (Buchanan & Chapman, 2010)
Duncan-Andrade, J.M.R. (2004). Your best friend or your worst enemy: youth popular culture, pedagogy, and curriculum in urban classrooms.
The review of education: pedagogy and cultural studies
. 26:313-337

Teachers ←Youth culture → Students
Education VS Schooling: multicultural education should not only be reflected in curriculum, but also in pedagogy
Importance to know what students are investing themselves in, and how are they doing so
Empowering pedagogy VS hierarchical practice of popular cultural texts
Students respect a more intellectually rigorous literacy curriculum that employs youth popular culture as a bridge to traditional literacy skills

Common misuse of popular cultural texts as a reward after "important work" (a draw back of the
behaviourist
approach)
Conservatism
: believes in positive effects of high culture - 'cultural capital' ;
Marxist
criticisms: such curriculum involves more drill-and-practice exercises, which make low SES students detached and disengaged
Claire
2 teams, each team has 5 cards facing down
Theories, Movies, TV Shows, Concepts
Describe the word written on the card using 5 words only.
If you cannot find words to describe your card, you can role play
opposite has to try and guess what is written on your card.
You are parents attending the weekly P&C meeting, during the meeting the you find out the school has employed a new teacher who will be in charge of the class your child is in. The teacher is asking the parents of the students in his class if they prefer high culture or popular cuture to teach their students.
Movie Lessons: Cultural Politics and the Visible Practices of Schooling. David Saltmarsh.

Movies as a form of pop culture...

 "Supply the materials that enable them to construct a sense of class, ethnicity, race, nationality, sexuality, and, importantly, a sense of who they are and who they are not (Kellner, 1995)."
 "Site of cultural politics where the struggle for ideological meaning takes place and is produced."
 "Films do more than entertain, they offer up subject positions, mobilize desires, influence us unconsciously, and help construct the landscape of American culture."

Constructivism
 Meaningful learning occurs when people actively create knowledge structures from personal experience and engagement with the world around them.
 Based on four main ideas:
1) Prior knowledge
2) Social interaction
3) Self-regulation
4) Authentic learning

Neoliberalism

An approach to economics and social studies in which control of economic factors is shifted from the public sector to the private sector. Drawing upon principles of neoclassical economics, neoliberalism suggests that governments reduce deficit spending, limit subsidies, reform tax law to broaden the tax base, remove fixed exchange rates, open up markets to trade by limiting protectionism, privatize state-run businesses, allow private property and back deregulation.

References
Bunchanan, R.A. & Chapman, A.K. (2010). Globalisation and social justice: The
exploitation of the digital native. Paper presented at the Social Educators Associatio of Australia Biennial Confrence, Adelaide, February 2010. Retrieved from http://www.seaa.org.au/media/BunchananChapman%20SEAA%20paper.pdf
Buchanan, R. (2011). Paradox, promise and public pedagogy: Implications of the Federal
Government's Digital Education Revolution. Australian Journal of Teacher Education, 36(2), 67-78.
Duncan‐Andrade, J.M.R. (2004). Your best friend or your worst enemy: Youth popular
culture, pedagogy, and curriculum in urban classrooms. Review of Education, Pedagogy, and Cultural Studies, 26(4), 313‐337
Giroux, H.A. (2004). Cultural Studies and the politics of public pedagogy: Making the
political more pedagogical.
Parallax, 10
(2), 73-89.
Prensky, M. (2004). The Emerging Online Life of the Digital Native: What they do differently
because of technology, and how they do it. Retrieved from www.marcprensky.com/writing/Prensky The_Emerging_Online_Life_of_the_Digital_Native-03.pdf
Saltmarsh, D. (2011). Movie lessons: Cultural politics and the visible practices of schooling.
Review of Education, Pedagogy and Cultural Studies, 33(2), 108‐131.

http://padlet.com/edfd/popculture
Thank you! :)
TAKING A CLOSER LOOK AT POPULAR CULTURE (GROUP DISCUSSION)

https://www.layar.com/campaigns/OIG4CXX6OW/POP-CULTURE
KEY POINTS
 Stressed the instrumentality of the school, individualism and competition between students and between schools
 "The key to raising standards is greater competition between students and between schools."
(NEOLIBERALISM)
 "What is private is necessarily good and what is public is necessarily bad."
 Depicts Johnson's use of direct instruction and use of lavish rewards as a "good" teaching strategy to motivate students to participate in class
(BEHAVIOURIST APPROACH)
 Gruwell's use of rap to teach poetry = culturally relevant pedagogy
 Line Game = acknowledgement and recognition of ss' cultural backgrounds and histories which resulted in ss' engagement
(CONSTRUCTIVISM)

High Culture: cultural products valued by elite groups. For example visual arts, classical, canonical literature (Shakespeare).
(Conservatism & Anti-popularist perspective) Elite controlling popular culture and manipulating individuals, for example advertisements.

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Federal Government National Secodary School Computer

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Social Educators Associatio of Australia Biennial Confrence

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Theories Neoloiberalism & Constructivist Behaviourism Neoliberalism Constructivism Conservatism Marxism Theories School of Rock Guess

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Popular culturePopular culture is the accumulated store of cultural products such as music, art, literature, fashion, dance, film, television, and radio that are consumed primarily by non-elite groups such as the working, lower, and middle class. Comprised of the mass media.(Pro-popularist perspective) TheoriesNeoloiberalism & ConstructivistBehaviourismNeoliberalismConstructivismConservatismMarxism TheoriesSchool of RockGuess what!Case studyWould thisgenerationbe possible withoutTechnology?

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example of popular cultural text with potential for scaffolding academic literacy skills

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"You are a vain, greedy, cruel boy," snarls Sir Anthony Hopkins as the white-haired and bearded god Odin to his rebellious son in 2011's Marvel Studios film Thor.

"You are an old man and a fool!" howls Thor, played by toned, blond Chris Hemsworth, before he and his mythic hammer are cast out of their celestial home to the doldrums of Earth.

That blistering exchange, ripe with Freudian father-son tension, disappointment and bravado, could come straight out of Shakespeare, from a tragedy like King Lear or Hamlet. And Tom Hiddleston's quest for power in the film and in last year's Marvel box office hit The Avengers is pure Macbeth.

Opening in US cinemas this weekend, Thor: The Dark World is filled with sibling rivalry, hubris and paternal frustration. Once again it shows the lasting influence of William Shakespeare in superhero films and in other big budget fantasy and adventure movies that dominate the big screen.

"Stan Lee, who edited and wrote most of the early Marvel comics, was heavily influenced by Shakespeare," says Stuart Moore, co-author of the Marvel tie-in book The Art of Thor: The Dark World. "It's evident in everything from the language the gods use to the larger themes behind the stories."
The playwright's the thing
In multiplexes aroundthe world, Marvel Studios' franchises rub shoulders with the X-Men, Hobbit and James Bond films. And increasingly, these genre movies attract classically-trained, heavyweight British actors like Anthony Hopkins, and also Royal Shakespeare Company alumni Sir Kenneth Branagh, Sir Ian McKellen, Sir Patrick Stewart, Dame Judi Dench and Dame Helen Mirren, to name a few.

"I guess great Shakespeare actors like McKellen, Dench, Mirren, Branagh and company have the capacity to scale the heights of human emotion that Shakespeare charts in roles like Lear, Hamlet, and Cleopatra," notes Gregory Doran, artistic director of the UK's Royal Shakespeare Company. "He challenges an actor to go to the limits of human experience, and find the surprising elements of humor and pathos, the absurd and the pathetic, at the very edges of catastrophe. Perhaps that's why they have the ability to play the almost superhuman scale that science fiction and fantasy demand."

Genre roles exist on a superhuman scale. They are made for movie-going masses who love high drama and strong heroes with cracks underneath their skin. And the Shakespearean backgrounds of the actors involved add respectability to material often dismissed as lowbrow.

Ian McKellen and Patrick Stewart, both Shakespearean juggernauts who have taken the title role in Macbeth on stage, battle against each other as Magneto and Professor Charles Xavier in the X-Men series, including the upcoming X-Men: Days of Future Past. McKellen will also reprise his Lord of the Rings turn as the wise wizard Gandalf in December's The Hobbit: The Desolation of Smaug.

Helen Mirren is best known to film buffs for her stately Oscar-winning role in 2006's The Queen, but Shakespeare aficionados might first recall her work on stage in Troilus and Cressida and As You Like It. She vamps it up as an assassin in the comic book film RED (2010) and this year's sequel RED 2. Judi Dench, with Shakespeare stage credits including Ophelia in Hamlet, Juliet in Romeo and Juliet and Lady Macbeth, has played steely British secret service boss M in seven popular James Bond movies.

It might be tempting to think these theatrical heavyweights take on pop culture roles just for the money. But that is not so, says Sean Howe, author of Marvel Comics: The Untold Story. "There's a lot of resonance with Shakespeare in these stories, and it's probably a comfortable, perhaps even nostalgic, mode for the actors. I would never accuse those fine women and men [of being] cash-grabbers, but let's say that these movies are cost-effective for them. They're not big budget romantic leads. It's probably the biggest possible payday they can enjoy. And they're in the company of other great actors."
Of gods and monsters
Shakespeare loved to map a hero's upward and downward journey and show how a tragic flaw or moral weakness makes them come unstuck. His tragedies, based on Greek, Roman, Danish-Nordic and English history and legends, are stuffed with elements of betrayal, lust, sibling and parental rivalry, supernatural beings, witches and ghosts.

Still, there is comedy too, with a royal fool or clever commoners as silly yet truthful commentators. Writer-director Joss Whedon added some saucy dialogue worthy of a fool to his superhero ensemble piece The Avengers, and followed it up with this year's black-and-white version of the Bard's tart romantic comedy Much Ado About Nothing.

The first Thor film was directed by Kenneth Branagh, who has starred in and overseen a slew of Shakespeare film adaptations, including Henry V, Hamlet, Love's Labour's Lost and his own version of Much Ado About Nothing. In Thor he sets up the Shakespearean motif of brother versus brother, vying for and defying their godly father's approval to take his throne.

Its follow-up, Thor: The Dark World, directed by Game of Thrones director Alan Taylor, places Thor at the center of a epic fight to save Earth from the marauding Dark Elves. For help he enlists the untrustworthy Loki, a role taken by Hiddleston, a fan favourite bred on Shakespeare. He told told GeekExchange.com and other outlets that he and Branagh discussed the similarities between cheeky, scheming Loki and the illegitimate son Edmund in King Lear. In Shakespeare's play, Edmund grows up in the shadow of the Earl of Gloucester's legitimate heir, Edgar, just as Loki, Odin's adopted son, the bastard offspring of a Frost Giant, was raised alongside Thor - and like Edmund, Loki plots to betray his brother. Thor himself takes after Prince Hal, the young, petulant heir to the throne who is a letdown to his royal father but later matures to become King Henry V.

"Thor: The Dark World features kings, commoners, family betrayals, invading armies, and troops dispatched in defense of the realm," says Moore. "Despite the low-culture trappings of comic book films, they're the closest thing in modern entertainment to the kind of grand-scale melodrama that Shakespeare trafficked in."

If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter.

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Finding Shakespeare in Thor: The Dark World

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"You are a vain, greedy, cruel boy," snarls Sir Anthony Hopkins as the white-haired and bearded god Odin to his rebellious son in 2011's Marvel Studios film Thor. "You are an old man and a fool!" howls Thor, played by toned, blond Chris Hemsworth, before he and his mythic hammer are cast out of their celestial home to the doldrums of Earth.

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East side high school song from "Lean on me

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East side high school song from "Lean on me

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example of engaging students with cultural relevance adaptations

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1. Open the Internet Browser

2. Click Tools (or "gear" icon at top right hand corner) > Internet Options > Privacy > Advanced

3. Check Override automatic cookie handling

4. For First-party Cookies and Third-party Cookies click Accept

5. Click OK and OK

Enabling Cookies in Internet Explorer 10, 11

1. Open the Internet Browser

2. Click the Tools button, and then click Internet Options.

3. Click the Privacy tab, and then, under Settings, move the slider to the bottom to allow all cookies, and then click OK.

Enabling Cookies in Google Chrome

1. Open the Google Chrome browser

2. Click Tools icon Or type in Go to chrome://settings/ to the URL window, hit enter

3. Click 'Advanced settings' > Select Privacy > Content settings

4. Check 'Allow local data to be set (recommended)'

5. Click 'Done'

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Open the Internet Browser Click Tools (or "gear" icon at top right hand corner) > Internet Options > Privacy > Advanced Check Override automatic cookie handling For First-party Cookies and Third-party Cookies click Accept Click OK and OK Enabling Cookies in Internet Explorer 10, 11 Open the Internet Browser Click the Tools button, and then click Internet Options.

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Pop culture helps students learn English

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Composing bilingual rap with puns like these has helped students in a Band Three school in a working-class area build bridges between their Chinese mother tongue and English.

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Globalisation and Social Justice: The exploitationof the digital native

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Globalisation and Social Justice: The exploitationof the digital native

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Rachel Bunchanan & Amy Chapman

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Ian Jukes & Anita Dosaj

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Marc Prensky

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The Emerging Online Life of the Digital Native: What they do differently because of technology, and how they do it 

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The Emerging Online Life of the Digital Native: What they do differently because of technology, and how they do it 

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Marc Prensky

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Does Pop Culture Have A Place In Academia?

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Does Pop Culture Have A Place In Academia?

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Does pop culture have a place in academia?

While the answer may depend upon who you're asking, as digital media pushes traditional media for attention in classrooms, the question will continue to surface as courses are dedicated to pop culture icons such as 2pac (and his class at at UC-Berkeley). Formal study of players that loom large in social consciousness-from to social media giants like facebook to television series such as Mad Men and Jersey Shore -ruffles many a feather in the blue-blood world of universities.

The cons of such entanglement involve merit and rigor: With a finite number of days in a semester, studying Jersey Shore in lieu of Chaucer is a troubling replacement.

But the pros are compelling: Regardless of their seeming academic value, whatever the consumption and production habits of a culture, they should be studied and understood-and needn't result in glorification.

We would love to hear comments below on your take-or experience-bringing pop culture into formal learning environments.
Infographic attribution bestcollegesonline.com

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Does Pop Culture Have A Place In Academia?

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Does pop culture have a place in academia? While the answer may depend upon who you're asking, as digital media pushes traditional media for attention in classrooms, the question will continue to surface as courses are dedicated to pop culture icons such as 2pac (and his class at at UC-Berkeley).

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Lady Gaga offers a teachable moment at Centennial High School

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Lady Gaga offers a teachable moment at Centennial High School

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Can Lady Gaga and Hamlet co-exist in the classroom?

Three Centennial High School teachers posed that seemingly simple question last month at a National Council of Teachers of English conference in Chicago. They answered their own question with an emphatic yes. In today's media-saturated world, they say, popular culture is increasingly important to discussions of classic literature.

Rana Houshmand, Eli Nolde and Nicole Johnston use pop culture as a springboard into headier topics such as using metaphor, analyzing literature and understanding irony.

"It's not something that happens in class every day," said Houshmand, who's taught at Centennial since 2007. "We use it as a scaffold to build to higher levels of literary critical thinking."

The teachers work with a variety of students, from struggling freshmen to seniors in advanced placement English.

The lessons, they say, reinforce state standards; they just do it more creatively than usual.

In one class, Houshmand showed her students graffiti by British street artist Banksy. The image was of two soldiers spray-painting a peace sign. Houshmand asked her students what they thought it meant.

"With texts, it's challenging," she said, so she starts with images.

Next comes analyzing words, perhaps lyrics in a Lady Gaga song. Then, finally, students move on to a Robert Frost poem, taking their interpretation skills to a higher level.

Nolde showed his students how to figure out a difficult literary text by bringing in a copy of something he couldn't comprehend on first reading, the Xbox manual. His students got it and helped him understand. It was, he said, a great example for them of how to talk through a piece of literature to open understanding of it.

"I would ask something aloud and immediately somebody would shout me the answer," he said.

Johnston uses Facebook as a discussion forum for her students reading "Fast Food Nation" in their advanced placement language and composition class.

"They're making very interesting points about the texts. They're posting other YouTube videos," she said. "It's sparking a lot of conversation beyond the initial classroom discussion." The teachers have also asked students to create playlists for works they're reading. Students working on "The Great Gatsby," for example, used "Gold Digger" by rapper Kanye West to help describe the themes of the book.

"These things work," said Houshmand.

The teachers say such approaches make an impact on assignments and test scores. They said taking their ideas to a national conference (the joint presentation grew out of an assignment at Portland State University, where Houshmand is pursuing a doctorate) was a valuable learning experience for them.

"It's an entirely different side of education," said Johnston. "When you're presenting in front of other teachers, it changes your perspective."

Grants and funding from the Centennial Education Association and the district helped pay for the trip.

Since the conference, they've been asked to contribute some of their ideas to a book on the topic.

"Our jobs as teachers are getting harder and harder with less resources to work with," said Houshmand. "To be able to do something like this seemed like a really big honor."

-- Melissa L. Jones, Special to The Oregonian

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Lady Gaga offers a teachable moment at Centennial High School

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Can Lady Gaga and Hamlet co-exist in the classroom? Three Centennial High School teachers posed that seemingly simple question last month at a National Council of Teachers of English conference in Chicago. They answered their own question with an emphatic yes. In today's media-saturated world, they say, popular culture is increasingly important to discussions of classic literature.