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Faculty of Education courses - students are teacher candidates
1. Digital Teaching and Learning (undergrad elective) [https://lu3239.wordpress.com/]
2. Digital Teaching and Learning (professional year elective) [http://dtl3239.weebly.com/]
3. Media and Digital Literacy (professional year option for concurrent ed) [https://mdl4000.weebly.com/]
4. Critical Digital Literacy (professional year, online, elective) [https://3239cdl.weebly.com/]

Please share any courses you've curated - add them below!

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Used to brainstorm essay writing.

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This interactive graphic organizer helps students develop an outline for one of three types of comparison essays: whole-to-whole, similarities-to-differences, or point-to-point. A link in the introduction to the Comparison and Contrast Guide give students the chance to get definitions and look at examples before they begin working. The tool offers multiple ways to navigate information including a graphic on the right that allows students to move around the map without having to work in a linear fashion. The finished map can be saved, e-mailed, or printed.

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This interactive graphic organizer helps students develop an outline for one of three types of comparison essays: whole-to-whole, similarities-to-differences, or point-to-point. A link in the introduction to the Comparison and Contrast Guide give students the chance to get definitions and look at examples before they begin working.

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Lisa's Study Guides: Compare and Contrast Essay Structures

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Lisa's Study Guides: Compare and Contrast Essay Structures

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LibGuides: Down and Dirty Tips: Compare or Contrast Essay: Home

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Tips for students on writing a Compare / Contrast essay. While this guide is not comprehensive, it does provide enough information for students to follow and pass the assignment. This guide is especially helpful for those who don't have much time.

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HBR Interview with Mike Porter on his Five Forces Model

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HBR Interview with Mike Porter on his Five Forces Model

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Michael Porter - Five forces - CLIC EN CC (Subtitulado por Network3e.com) - YouTube

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Evaluating the Industry in Mastering Strategic Management, 1st Canadian Ed., 2014, by J. Edwards

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Evaluating the Industry in Mastering Strategic Management, 1st Canadian Ed., 2014, by J. Edwards

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Learning Objectives

1. Explain how five forces analysis is useful to organizations.

2. Be able to offer an example of each of the five forces.

The Purpose of Five Forces Analysis

The purpose of five forces analysis is to identify how much profit potential exists in an industry. To do so, five forces analysis considers the interactions among the competitors in an industry, potential new entrants to the industry, substitutes for the industry's offerings, suppliers to the industry, and the industry's buyers (Porter, 1979). If none of these five forces works to undermine profits in the industry, then the profit potential is very strong. If all the forces work to undermine profits, then the profit potential is very weak. Most industries lie somewhere in between these extremes. This could involve, for example, all five forces providing firms with modest help or two forces encouraging profits while the other three undermine profits. Once executives determine how much profit potential exists in an industry, they can then decide what strategic moves to make to be successful. If the situation looks bleak, for example, one possible move is to exit the industry.

The Rivalry among Competitors in an Industry

Understanding the intensity of rivalry among an industry's competitors is important because the degree of intensity helps shape the industry's profit potential. Of particular concern is whether firms in an industry compete based on price. When competition is bitter and cutthroat, the prices competitors charge-and their profit margins-tend to go down. If, on the other hand, competitors avoid bitter rivalry, then price wars can be avoided and profit potential increases.

Every industry is unique to some degree, but there are some general characteristics that help to predict the likelihood that fierce rivalry will erupt. Rivalry tends to be fierce, for example, to the extent that the growth rate of demand for the industry's offerings is low (because a lack of new customers forces firms to compete more for existing customers), fixed costs in the industry are high (because firms will fight to have enough customers to cover these costs), competitors are not differentiated from one another (because this forces firms to compete based on price rather than based on the uniqueness of their offerings), and exit barriers in the industry are high (because firms do not have the option of leaving the industry gracefully). Exit barriers can include emotional barriers, such as the bad publicity associated with massive layoffs, or more objective reasons to stay in an industry, such as a desire to recoup considerable costs that might have been previously spent to enter and compete.

Industry concentration is an important aspect of competition in many industries. Industry concentration is the extent to which a small number of firms dominate an industry ( Figure 3.16: "Industry Concentration"). Among circuses, for example, the four largest companies collectively own 89 percent of the market. Meanwhile, these companies tend to keep their competition rather polite. Their advertising does not lampoon one another, and they do not put on shows in the same city at the same time. This does not guarantee that the circus industry will be profitable; there are four other forces to consider as well as the quality of each firm's strategy. But low levels of rivalry certainly help build the profit potential of the industry.

In contrast, the restaurant industry is fragmented, meaning that the largest rivals control just a small fraction of the business and a large number of firms are important participants. Rivalry in fragmented industries tends to become bitter and fierce. Quiznos, a chain of sub shops that is roughly 15 percent the size of Subway, has aimed some of its advertising campaigns directly at Subway, including one depicting a fictional sub shop called "Wrong Way" that bore a strong resemblance to Subway.

Within fragmented industries, it is almost inevitable that over time some firms will try to steal customers from other firms, such as by lowering prices, and that any competitive move by one firm will be matched by others. In the wake of Subway's success in offering foot-long subs for $5, for example, Quiznos has matched Subway's price. Such price jockeying is delightful to customers, of course, but it tends to reduce prices (and profit margins) within an industry. Indeed, Quiznos later escalated its attempt to attract budget-minded consumers by introducing a flatbread sandwich that cost only $2. Overall, when choosing strategic moves, Subway's presence in a fragmented industry forces the firm to try to anticipate not only how fellow restaurant giants such as McDonald's and Burger King will react but also how smaller sub shop chains like Quiznos and various regional and local players will respond.

The Threat of Potential New Entrants to an Industry

New entrants can join the fray within an industry in several different ways. New entrants can be start-up companies created by entrepreneurs, foreign firms that decide to enter a new geographic area, supplier firms that choose to enter their customers' business, or buyer firms that choose to enter their suppliers' business. The likelihood of these four paths being taken varies across industries. Restaurant firms such as Subway, for example, do not need to worry about their buyers entering the industry because they sell directly to individuals, not to firms. It is also unlikely that Subway's suppliers, such as farmers, will make a big splash in the restaurant industry.

On the other hand, entrepreneurs launch new restaurant concepts every year, and one or more of these concepts may evolve into a fearsome competitor. Also, competitors based overseas sometimes enter Subway's core markets. In 2008, U.S.-based Panera Bread opened its first Canadian stores in Ontario. Panera Bread operates more than 1,500 restaurants in the United States and over a dozen in Canada. Time will tell whether this new entrant has a significant effect on Subway and other restaurant firms. Because a smokehouse turkey panini closely resembles a hamburger, McDonald's and Burger King may have more to fear from Panera than Subway does.

Every industry is unique to some degree, but some general characteristics help to predict the likelihood that new entrants will join an industry. New entry is less likely, for example, to the extent that existing competitors enjoy economies of scale (because new entrants struggle to match incumbents' prices), capital requirements to enter the industry are high (because new entrants struggle to gather enough cash to get started), access to distribution channels is limited (because new entrants struggle to get their offerings to customers), governmental policy discourages new entry, differentiation among existing competitors is high (because each incumbent has a group of loyal customers that enjoy its unique features), switching costs are high (because this discourages customers from buying a new entrant's offerings), expected retaliation from existing competitors is high, and cost advantages independent of size exist.

The Threat of Substitutes for an Industry's Offerings

At first glance, it could appear that the satellite television business is a tranquil one because there are only two significant U.S. competitors-DIRECTV and DISH Network. These two industry giants, however, face a daunting challenge from substitutes. The closest substitute for satellite television is provided by cable television firms, such as Comcast and Charter Communications. DIRECTV and DISH Network also need to be wary of streaming video services, such as Netflix, and video rental services, such as Redbox. The availability of viable substitutes places stringent limits on what DIRECTV and DISH Network can charge for their services. If the satellite television firms raise their prices, customers will be tempted to obtain video programs from alternative sources. This limits the profit potential of the satellite television business.

In other settings, viable substitutes are not available, and this helps an industry's competitors enjoy profits. Like lightbulbs, candles can provide lighting within a home. Few consumers, however, would be willing to use candles instead of lightbulbs. Candles simply do not provide as much light as lightbulbs. Also, the risk of starting a fire when using candles is far greater than the fire risk when using lightbulbs. Because candles are a poor substitute, lightbulb makers such as General Electric and Siemens do not need to fear candle makers stealing their customers and undermining their profits.

The dividing line between which firms are competitors and which firms offer substitutes is a challenging issue for executives. Most observers would agree that, from Subway's perspective, sandwich-maker Quiznos should be considered a competitor and that grocery stores such as Safeway offer a substitute for Subway's offerings. But what about full-service restaurants, such as The Keg, and "fast casual" outlets, such as Panera Bread? Whether firms such as these are considered competitors or substitutes depends on how the industry is defined. Under a broad definition-Subway competes in the restaurant business-The Keg and Panera should be considered competitors. Under a narrower definition-Subway competes in the sandwich business-Panera is a competitor and The Keg is a substitute. Under a very narrow definition-Subway competes in the sub sandwich business-both The Keg and Panera provide substitute offerings. Thus clearly defining a firm's industry is an important step for executives who are performing a five forces analysis.

The Power of Suppliers to an Industry

The relative bargaining power between an industry's competitors and its suppliers helps shape the profit potential of the industry. If suppliers have greater leverage over the competitors than the competitors have over the suppliers, then suppliers can increase their prices over time. This cuts into competitors' profit margins and makes them less likely to be prosperous. On the other hand, if suppliers have less leverage over the competitors than the competitors have over the suppliers, then suppliers may be forced to lower their prices over time. This strengthens competitors' profit margins and makes them more likely to be prosperous. Thus when analyzing the profit potential of their industry, executives must carefully consider whether suppliers have the ability to demand higher prices.

Every industry is unique to some degree, but some general characteristics help to predict the likelihood that suppliers will be powerful relative to the firms to which they sell their goods and services. Suppliers tend to be powerful, for example, to the extent that the suppliers' industry is dominated by a few companies, it is more concentrated than the industry that it supplies and/or there is no effective substitute for what the supplier group provides. These circumstances restrict industry competitors' ability to shop around for better prices and put suppliers in a position of strength.

Supplier power is also stronger to the extent that industry members rely heavily on suppliers to be profitable, industry members face high costs when changing suppliers, and suppliers' products are differentiated. Finally, suppliers possess power to the extent that they have the ability to become a new entrant to the industry if they wish. This is a strategy called forward vertical integration a strategy, a strategy that involves a supplier entering the industry to which it supplies product. Ford, for example, used a forward vertical integration strategy when it purchased rental car company (and Ford customer) Hertz. A difficult financial situation forced Ford to sell Hertz for $5.6 billion in 2005. But before rental car companies such as Avis and Thrifty drive too hard a bargain when buying cars from an automaker, their executives should remember that automakers are much bigger firms than rental car companies are. The executives running the automaker might simply decide that they want to enjoy the rental car company's profits themselves and acquire the firm.

Strategy at the Movies
Flash of Genius
When dealing with a large company, a small supplier can get squashed like a bug on a windshield. That is what college professor and inventor Dr. Robert Kearns found out when he invented intermittent windshield wipers in the 1960s and attempted to supply them to Ford Motor Company. As depicted in the 2008 movie Flash of Genius, Kearns dreamed of manufacturing the wipers and selling them to Detroit automakers. Rather than buy the wipers from Kearns, Ford replicated the design. An angry Kearns then spent many years trying to hold the firm accountable for infringing on his patent. Kearns eventually won in court, but he paid a terrible personal price along the way, including a nervous breakdown and estrangement from his family. Kearns's lengthy battle with Ford illustrates the concept of bargaining power that is central to Porter's five forces model. Even though Kearns created an exceptional new product, he had little leverage when dealing with a massive, well-financed automobile manufacturer.

The Power of an Industry's Buyers

The relative bargaining power between an industry's competitors and its buyers helps shape the profit potential of the industry. If buyers have greater leverage over the competitors than the competitors have over the buyers, then the competitors may be forced to lower their prices over time. This weakens competitors' profit margins and makes them less likely to be prosperous. Walmart is a good example. The mammoth retailer is notorious among manufacturers of goods for demanding lower and lower prices over time (Bianco & Zellner, 2003). Walmart also launched an aggressive push to have marketers divert their consumer media and marketing budgets into the giant retailer's growing ad budget and in-store marketing programs, using a simultaneous push to clear underperforming brands off its shelves as extra leverage. Walmart has the power to insist on price concessions because its sales volume is huge (Neff, 2009). One product from one brand makes up a small portion of Walmart's overall sales, so a product exiting the market would not hurt Walmart. From the perspective of the supplier, however, Walmart is their biggest buyer. If the supplier were to refuse to do business with Walmart, they would miss out on access to a large portion of consumers.

On the other hand, if buyers have less leverage over the competitors than the competitors have over the buyers, then competitors can raise their prices and enjoy greater profits. This description fits the textbook industry quite well. University and college students are often dismayed to learn that an assigned textbook costs $150 or more. Historically, textbook publishers have been able to charge high prices because buyers had no leverage. A student enrolled in a class must purchase the specific book that the professor has selected. Used copies are sometimes a lower-cost option, but textbook publishers have cleverly worked to undermine the used textbook market by releasing new editions after very short periods of time.

Of course, the presence of a very high profit industry is attractive to potential new entrants. Some publishers have entered the textbook market with lower-priced offerings. As well as open educational resources and open textbooks are additional low-cost alternatives to the textbook market. Time will tell whether such offerings bring down textbook prices. Like any new entrant, upstarts in the textbook business must prove that they can execute their strategies before they can gain widespread acceptance. Overall, when analyzing the profit potential of their industry, executives must carefully consider whether buyers have the ability to demand lower prices. In the textbook market at the moment, most buyers do not.

Every industry is unique to some degree, but some general characteristics help to predict the likelihood that buyers will be powerful relative to the firms from which they purchase goods and services. Buyers tend to be powerful, for example, to the extent that there are relatively few buyers compared with the number of firms that supply the industry, the industry's goods or services are standardized or undifferentiated, buyers face little or no switching costs in changing vendors, the good or service purchased by the buyers represents a high percentage of the buyer's costs, and the good or service is of limited importance to the quality or price of the buyer's offerings.

Finally, buyers possess power to the extent that they have the ability to become a new entrant to the industry if they wish. This strategy is called backward vertical integration, a strategy that involves a buyer entering the industry that it purchases goods or services from. TiVo was the pioneer of digital video recorders. This situation changed, however, when media providers grew weary of their relationship with TiVo. The media companies then used a backward vertical integration strategy and started offering their own branded digital video recorders, often bundled with a range of services. Profits that used to be enjoyed by TiVo were transferred at that point to the media companies.

The Limitations of Five Forces Analysis

Five forces analysis is useful, but it has some limitations too. The description of five forces analysis provided by its creator, Michael Porter, seems to assume that competition is a zero-sum game, meaning that the amount of profit potential in an industry is fixed. One implication is that if a firm is to make more profit, it must take that profit from a rival, a supplier, or a buyer. In some settings, however, collaboration can create a larger pool of profit that benefits everyone involved in the collaboration. In general, collaboration is a possibility that five forces analysis tends to downplay. The relationships among the rivals in an industry, for example, are depicted as adversarial. In reality, these relationships are sometimes adversarial and sometimes collaborative. General Motors and Toyota compete fiercely all around the world, for example, but they also have worked together in joint ventures. Similarly, five forces analysis tends to portray a firm's relationships with its suppliers and buyers as adversarial, but many firms find ways to collaborate with these parties for mutual benefit. Indeed, concepts such as just-in-time inventory systems depend heavily on a firm working as a partner with its suppliers and buyers.

Key Takeaway

"How much profit potential exists in our industry?" is a key question for executives. Five forces analysis provides an answer to this question. It does this by considering the interactions among the competitors in an industry, potential new entrants to the industry, substitutes for the industry's offerings, suppliers to the industry, and the industry's buyers.

Exercises

1. What are the five forces?

2. Is there an aspect of industry activity that five forces analysis seems to leave out?

3. Imagine you are the president of your college or university. Which of the five forces would be most important to you? Why?

References

Bianco, B., & Zellner, W. (2003, October 6). Is Wal-Mart too powerful? Bloomberg Businessweek. Retrieved from http://www.businessweek.com/magazine/content/03_40/b3852001_mz001.htm

Neff, J. (2009). Walmart Threatens Suppliers to Gain Their Promotion Dollars. Advertising Age. Retrieved from http://reclaimdemocracy.org/walmart_threatens_suppliers_for_marketing_dollars/

Porter, M. E. (1979, March-April). How competitive forces shape strategy. Harvard Business Review, 137-156.

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Mastering Strategic Management- 1st Canadian Edition

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Explain how five forces analysis is useful to organizations. Be able to offer an example of each of the five forces. The purpose of five forces analysis is to identify how much profit potential exists in an industry.

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bus501: boundless: "porter's five forces"

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Saylor Academy: BUS501: Boundless: "Porter's Five Forces"

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Capstone for the Business program, incorporating elements from all of the core courses. Introduces the field of strategic management, with particular emphasis on identifying goals and formulating strategies and addressing implementation techniques. adamjee, brandman

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Detailed Graphic of Porter's Five Forces

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Detailed Graphic of Porter's Five Forces

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Google's Be Internet Awesome - "Be Internet Awesome teaches kids the fundamentals of digital citizenship and safety so they can explore the online world with confidence”. It includes games for kids that reinforce good Digital Citizenship skills as well as resources for both parents and teachers.

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Courses I've curated for my students - Helen DeWaard

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Courses I've curated for my students - Helen DeWaard

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Faculty of Education courses - students are teacher candidates
1. Digital Teaching and Learning (undergrad elective) [https://lu3239.wordpress.com/]
2. Digital Teaching and Learning (professional year elective) [http://dtl3239.weebly.com/]
3. Media and Digital Literacy (professional year option for concurrent ed) [https://mdl4000.weebly.com/]
4. Critical Digital Literacy (professional year, online, elective) [https://3239cdl.weebly.com/]

Please share any courses you've curated - add them below!

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Video of the Be Internet Awesome Resource

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Video of the Be Internet Awesome Resource

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Recent article on the pivotal role librarians play in curation. (See it's not just my bias!)

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Recent article on the pivotal role librarians play in curation. (See it's not just my bias!)

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Curation is a funny word. When my colleagues and I wrote our Social Media Curation Library Technology Report for ALA, we struggled with a definition. The folks we interviewed across library land curated in several different ways and we used the term curation differently depending on current community needs or where they were in any particular project.

Back in 2014, our interviews and surveys led us to a taxonomy of digital curation. The professionals we spoke with described a process in which they began by collecting or gathering; moved to connecting content and resources for specific purposes and audiences; curated by adding value with context and commentary; and contributed by offering the community opportunities for collaboration, learning and growth. Along the way they experience collateral benefits of developing learning agility, building social capital and demonstrating creativity.

K12 digital curation is about getting our users/students/teachers to the good stuff, pointing them to content and resources they might not themselves discover with their own intuitive strategies. It's about saving teachers instructional time. But it's also about telling a story, organizing resources for sense-making, interpreting, presenting choices, palettes, and dashboards. And it's also about instruction and modeling for learners what it looks like to organize content and tools to manage our digital lives as information citizens.

Curation allows us to scale our practice and reach our community 24/7 at their points of need. Librarians who curate successfully not only build their brands, they contribute to their communities-students, faculty, administrators, and parents-as information professionals.

Social media curation efforts can help us fuel participatory culture as we build and connect communities.
Curating with kids
As students curate, they make decisions about authority and bias. They analyze, synthesize, and potentially present for a real audience. When librarians model and guide curation, they build more independent, agile learners capable of building learning networks, telling powerful stories, and carving out their own information niches. We may also guide learners as they develop digital portfolios to share their own curated work.

Through our curation efforts, we model potential life skills to our community. In school libraries, digital curation represents a workflow strategy for student inquiry. Teacher librarians also show young people how to curate around their own interests and how to create launchpads to manage their information worlds. By modeling and demonstrating what Harold Jarche calls personal knowledge mastery or management (PKM), we teach all of our stakeholders why to curate and how to do so effectively and thoughtfully."
Curating OER
Lately I've been asked to speak about the librarian's role in supporting OER (open educational resources) implementation through curation and I realize that in the K12 setting, curating and leveraging OER means very different things to district-level administrators, to principals, to department chairs, to teachers and to librarians. It often refers to the gathering and contextualizing of OER to replace expensive traditional texts and to include them in learning management systems.

Clearly, curation is not only about OER. For one thing, not all OER are created equally good and not all commercial products are at all bad. We need to figure how OER content might play nice with our existing valued investments to ensure ROI and to present teachers and learners with the most valuable OER options for their needs despite a growing number of impressive portals. This is a serious opportunity to lead and to address issues of access and equity.
The case for librarian as curation point guard
Librarians are uniquely qualified to curate digital assets. Districts who do not leverage their librarians in these activities are in effect benching their point guards. We live to play this game; we live to play this position. We possess full court vision, with knowledge of both the online and offline instructional landscapes. We study and understand our team members' talents and we earn their trust. We coach. We are largely unselfish and quick to respond to a challenge with calm leadership. We see opportunities. We anticipate multiple scenarios. We set up plays and make thoughtful passes. And we seek openness.

Beyond the basketball metaphor . . .

Digital curation is a translation and amplification of our traditional practice. We study the specific needs and interests of our communities. We have always been around to tame the information flow, to facilitate discovery and knowledge building. Curation is a direct translation of collection building, critical evaluation, instructional partnership, sense making, meeting community needs, knowledge building and instruction. With school wide perspective spanning disciplines, grade levels and learners' abilities, we build collections based on decisions relating to quality, diversity and local relevance. We organize resources for intellectual and physical access and equity and our efforts are portable, collaborative, embeddable, easy to access, customized for their audience and optimized for all platforms.

Of course, it's easy to see the connection of curation efforts to AASL's summarized standards: think, create, share and grow.

If you examine the Future Ready Librarians Fact Sheet, it is clear that these gears that address the librarian's role in the Future Ready Schools Framework and in connecting their practices, programs and spaces to educational innovation in schools.

Designs Collaborative Spaces

Builds Instructional Partnerships

Empowers Students as Creators

Curates Digital Resources and Tools

Facilitates Professional Learning

Ensures Equitable Digital Access

Invests Strategically in Digital Resources

Cultivates Community Partnerships

Curation Situations
Now let's count some of the many ways librarians are curating in digital landscapes:

Collections for broad, open discovery: Traditional library catalogs now expand to point to OER, free web content and digital tools, as well as community-developed content, including instruction and smaller curation efforts co-created by the librarian and the classroom teachers.

For specific school- or department-wide curricula (and replacing texts): Working in collaboration with district curriculum developers and teachers on special assignment, librarians thoughtfully gather digital nonfiction text sets and design media-rich, interactive textbooks to meet focused learner needs. These curations may be included in your OPAC. In fact, that activity is about to get far easier. Keep an eye open for Follett's new Collections by Destiny, debuting this week, which

creates new, collaborative ways for librarians, teachers and students to share free or purchased resources across the district, school or with other users. Students and teachers can access district resources in Destiny Discover and add them to any Collection. Each collection can include web pages, images, documents, eBooks, and more! Collections can also be shared publicly or kept private. With Collections, teachers can quickly pair content to instruction, and students can collect and curate resources for assignments, projects and tasks.

For supporting flipped and hybrid instruction: Librarians curate instructional videos, tutorials, posters and other resources they create, as well as those created by faculty partners & others for logical, point-of-need access. Co-curation and collaborative design with faculty and students and embeddedness, ensure the use of this instruction. See Michelle Luhltala's New Canaan High School YouTube archive.

: Informed by wide curricular knowledge, school librarians partner with classroom teachers to support the inquiry and workflow needs of specific learner groups for inquiry-based assessments or creative knowledge products. School librarians create topic-specific guides support regular inquiry projects. Among my most popular guides were my current events guides for national and global news and news analysis. A guide for AP US History supported work around document-based questions or DBQs. It included our teachers' instructional materials, organized lists of primary source portals, embedded ebook anthologies, document analysis tools, tools for organizing writing, documentation and remixing, On that guide also was a Google For supporting the inquiry and workflow needs of a specific learner group for an assessment/product Custom Search Engine I created for searching across the most important of those portals. My students expected me to co-create a LibGuide with their teachers for every major inquiry project.

For building individual lessons/instruction: A number of tools scaffold the creation of technology-rich lessons by prompting us to curate resources into instructional design. Check out Common Sense Media's Lesson Plans-models of innovative lesson plans that thoughtfully integrate digital tools with solid practice, as well as Hyperdocs templates for inspiration.

For supporting 1:1 environments: By creating cross-device palettes or dashboards, librarians ensure apps, instructional materials and all digital assets are available at learners' fingertips across devices. Curating dashboards of apps and digital tool options for various tasks-image editing, storyboarding, comic book making, digital storytelling-supports student individual choice and creativity. Symbaloo webmixes work well for ensuring that all the tools for a complex project are gathered and handy.

: Your school's PD efforts don't need to For professional development go poof. Librarians can archive events they lead, as well as the efforts of their colleagues to continue to support professional learning. I gathered all my lunch & learn events and the PD efforts of my colleagues on a LibGuide. You might choose tools like Livebinders or Pearltrees or LessonPaths. While that guide is not long active, check out my Copyright Friendly Smore, my Pearltrees of CC0 resources.

Librarians can curate news, tweets, feeds, posts and resources shared on social media for teachers', administrators' and students' areas of interest. This is often done using online newsletter curation tools like For current awareness: Scoop.it or Paper.li or Storify or RSS readers like Feedly. You may choose to embed and monitor hashtag searches for specific needs, for instance the #GoOpen initiative. Curating and embedding Twitter and RSS feeds relevant to breaking news for social studies and science classes presents an opportunity to gather together a variety of political lenses and global perspectives. You may decide to create a Storify to gather social meeting coverage around a school or current event.

For organizing/sequencing learning playlists: School librarians can work with teachers or curate learning playlists, conveniently sequencing texts/readings/resources and by adding questions and contextual notes and polls, using tools like LessonPaths, List.ly, and TES Blendspace, Nearpod and PearDeck. Tutorials may be first staged on archives YouTube, SlideShare, Flickr and later added to their playlists.

For supporting student interests: School librarians listen to their communities to curate resources and digital tools to fuel their interests. This might include promoting a steam punk collection on a Pinterest connected to GoodReads reviews or embedding a Symbaloo of resources to encourage coding and making on the library website.

For corkboard sharing: Social media corkboards point to events, connect community groups and highlight community news, achievements, and voices. This could be easily done using Padlet or Pinterest or Instagram. Invite trusted high school student volunteers to function as community archivists by pinning news and events.

For promoting reading, highlighting titles, organizing text sets: Pinterest boards are fabulous vehicles for sharing new acquisitions or for digital genrefication and face-out shelving of both print and digital titles. Digital curation allows for the easy organization of text sets in multiple formats. Check out Pinterest. Check out Kim Beeman's Padlet: 100 Picture Books to Read and Share (Ages 3 to 7) and Alida Hanson's many Pinterest boards of suggested readings for Weston High School or the Squalicum High School (WA) Library Pinterest boards.

For local archives: Using a bounty of new curation tools as flexible and virtually limitless containers. librarians can lead in creating local archives of images and videos of community interest. By curating tweets and social media, we create tangible evidence and lasting memories of such events as poetry slams, football games, art exhibits, science fairs, History Day, one-book-one-community celebrations and wax museum biography shares. A few years back our seniors collected oral histories from community elders, and from our veterans. We combined those interviews with newly scanned old community documents and maps and hosted our archive in a Ning.

For modeling a critical information practice: In teach a man to fish style, rather than continuing to push resources to our students, we can transfer responsibility and engage them as curators of their research-in-progress and their other original works and encourage them to curate the tools they need for workflow. As they research students develop critical skills in selecting, organizing, making meaning and sharing .Curation is a connected learning activity and a life strategy that encourages young curators participate in their areas of interest. For older students' major projects, tools like Paper.li, Scoop.it and Flipboard might work nicely.

: Librarians can lead by helping faculty and students select, curate and reflect on their work. Including student work in other curation efforts, including instruction, validates and celebrates their efforts. Encourage learners to curate their own work, and include text and video reflection, using portfolio platforms such as For portfolio building and creating galleries of student work Seesaw and EasyPortfolio. Display projects on tools like Pinterest or Instagram.

For personal knowledge management/mastery: Show students and colleagues how to informally manage personal staging areas or in-baskets keeping discoveries handy when anticipated situations for sharing arise. (Check out Harold Jarche's Seek/Sense/Share framework.) Some effective tools for the staging process are Evernote, Google Keep, Diigo and Scoop.it.

Creative nesting/embedding: Once you begin curating, you discover that your efforts become part of a larger network. One of your activities might easily be embedded in another. They all play nice together. Your Symbaloo tiles are not just links; they link to other Symbaloos and are are daisy-chained to each other. You embed your learning playlists in your LibGuides. Your LibGuides become part of your OPAC. You get to select appropriate platforms and creatively apply your skills of organization to create strategies that appear seamless to the user.

For telling your story: Curation is a strategy for telling our stories through the choices we make and the context we create around those choices. When we carefully select, sequence, analyze and organize media-images and quotes and video, as well as our original content and critical narrative, we synthesize unique stories that make meaning of our topics for an audience.

Evidence/Advocacy: Or building and amplifying your professional/institutional brand: Let your efforts show and share the work of those around you. Archive and display anchor charts, displays, lessons, curations, student creations, reports and feedback. Use your camera roll and share to Instagram, Facebook and Flickr. People both inside and outside your own learning community are likely to discover your impact, appreciate your work, trust you as a guide and model and build on your efforts. As that happens, your impact reflects on your school and enhances your own social capital

(Check out my poster of this list on Piktochart.)

Some other resources:
Curation Tools and Platforms Pearltrees OER Portals Pearltrees
Valenza, Joyce Kasman. " Curation." School Library Monthly 29.1 (2012)

Valenza, Joyce Kasman, Brenda L. Boyer, and Della Curtis. " Curation in School Libraries." Library Technology Reports 50.7 (2014): 27-36.

From this blog:

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Curation Situations: Let us count the ways - NeverEndingSearch

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Curation is a funny word. When my colleagues and I wrote our Social Media Curation Library Technology Report for ALA, we struggled with a definition. The folks we interviewed across library land curated in several different ways and we used the term curation differently depending on current community needs or where they were in any particular project.

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Podcast: Play in new window | Download

Digital curation is emerging as a sound strategy in learning experience design to replace or enhance courses. It's also a strategy for building community and a way to support informal learning and a backchannel. In this episode, I speak with Allison Anderson and Ben Betts, co-authors and editors of Ready, Set, Curate: 8 Learning Experts Tell You How.

Allison is a Chief Learning Strategist at Learning EcoStrategies. She has more than 20 years of experience as a learning leader in both higher education and the private sector. Ben leads the team at his startup, HT2 Labs, an R&D company for learning and performance technology. Ben is a thought-leader in Learning Technology with more than 15 years of experience and a doctorate where he studied the impact of gamification on adult social learning.
WE DISCUSS:

Defining digital curation

Difference between aggregation and curation

Why curation is a viable solution for workplace learning

Examples of how digital curation can be used: Imagination, Instruction, Integration and Implementation

How curation is supported by instructional science

Curation and community-the social aspect of curation

Curation strategies for learning experience design

Effective curation process

Determining valid sources to curate

Curation copyright and licensing issues

Common mistakes new curators make

Curation tools

TIME: 31 minutes

RATE: Review this podcast in iTunes

TRANSCRIPT: Download the ELC 042 Transcript.
RESOURCES:
Get the latest articles, resources and freebies once a month plus my free eBook, Writing for Instructional Design.

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ELC 042: The Power and Practice of Digital Curation

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Podcast: Play in new window | Download Digital curation is emerging as a sound strategy in learning experience design to replace or enhance courses. It's also a strategy for building community and a way to support informal learning and a backchannel.

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Students in support of curation and modifying from Fiddler

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Starring:
Emma C.
Ben V.
Jordan S.
Dan M.
Jelli V.
Thanks to Monica Femovich
Song parody by 
Joyce Kasman Valenza. Based on "Tradition" and "Matchmaker" from Fiddler on the Roof.
Music by Jerry Bock, lyrics by Sheldon Harnick.
Creative Commons Attribution NonCommercial