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This promotional poster is bright, engaging and informative. It holds the traditional structure of a pantomime poster that can be seen widely across the UK. The show title is the focal point, with iconic font and imagery. The strap line uses a play on words with 'what you wish for' being associated to the story of Aladdin and the bold font of "Panto" emphasises what style of performance this is. With this being said it's the overall image of the poster that suggests it is for a pantomime. Using images of the cast, with larger photos of the well known performers at the top is an advertising strategy to sell tickets and is "appealing to sectors of the audience" (Millie, 2007. p.23). Although the font size is the same for all characters the placement of the male actors appears higher than the females, is this due their gender or due to their celebrity status. These performers are more prominent playing on the concept of engaging celebrity fans "through actual meetings...such as performances" (Barton and Hamilton, 2012. p.137). The important information such as when and where are the smallest text on the poster suggesting that the purpose of this literature is to attract audiences through cast members, resulting in ticket sales. The marketing of a production is crucial because of its wide appeal to "attract an audience from across generations and classes" (Millie, 2007. p17).

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NTC531 - FD - New cast full title social artwork WR.jpg.gallery

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A poll created on social media to see who would be interested in attending

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A poll created on social media to see who would be interested in attending

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This poll was created on a private social media group on Facebook to ascertain the level of interest in the trip. From the use of the poll and the supporting comments I was able to understand how many people were interested in purchasing a ticket. This literacy event needed engagement from the audience to be successful. This tool gives a numeric visual of the answers and allows a quick response.

On reflection of this post, when using the word "pantomime", involved some ignorance from my part expecting all readers to understand of what a pantomime is. Taylor Millie (2007, p.16) states "that for a British audience pantomime is part of the popular culture, but for most other readers it is largely unknown." The assumption of using this vocabulary implied that all readers of the poll would understand this concept that is within the British culture. The level of social class is also assumed expecting this community to be comfortable in paying a certain amount of money for a ticket. As the audience are parents who pay for their children to attend theatre classes, the assumption of involvement in a shared interest in a theatre performance and the social acceptance of the trip, was pre-conceived from my own involvement of theatre and watching performances.

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Some supporting answers to the poll. Informal, emotive and fast paced short answers as "new digital technologies allow people to engage in a range of digital literacy practices during the day and many times a day." (Tour, 2017, p.414)

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Email/social media post with details about trip

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Email/social media post with details about trip

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This email was sent to all involved in the theatre group community containing all the relevant information needed for the trip. It gives clear information and instructions for the next steps. Although this piece of literacy did not create any further written literacy involvement from others it did request verbal communication. The word "yesterday" in the first paragraph shows the speed in which this process has taken. Communication of this manor, only a few years ago would have been in the form of a typed and printed letter handout out to pupils and hoping for a return slip the following week making the process a lot longer. Emails and digital literacies have "accelerated the pace at which people engage in literacy practices" (Tour, 2017. p.414). As this was sent as an email it was written on a computer as opposed to a mobile device. By creating this message on a computer naturally led to the creation being more formal and allowed for more meaning making (Tour, 2017. p.414).

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An email reminder from the venue regarding the rules and regulations for Covid-19. They used elements of the promotional poster at the top of their correspondence to make the email eye catching and allow the reader to associate this email with their up and coming event. The paragraphs are short and straight to the point, giving clear instructions of expectations.

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This was a post on my own public social media platform in a last attempt to try and resell tickets for somebody who couldn't make it. After asking the theatre group community to no avail I put it out to a wider community of people resulting in selling the tickets to a friend who communicated via private chat. The use of a digital platform such as Facebook is multi-faceted in its way to communicate. (Rogers and Hafner, 2012. p.10). As this was going out to friends, the text was informal and friendly.

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After the trip I posted a quick, short message on the Facebook group to thank everyone for coming. Looking back at the structure and the use of "Hope you all had a blast!" I wonder if I wrote this subconsciously asking for approval of the trip I had organised as opposed to just asking the question. By not creating an open ended question there was less opportunity for people to comment it they didn't enjoy it. There were many responses to the post, all positive. (See below)

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Emotive language and thanks were giving in these short comments. The tone is informal and colloquial. Some messages used the use of emojis and "x"s for kisses. The positive, happy tone of the communities messages helps to grow the community in a positive manor and creates a safer space for further social engagement using these literacy practices.

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This table was four pages long, containing all ticket orders. Once confirmed via email or verbally, names were highlighted and the end column was tickets once paid. Although this scrap paper could seem as unorganised it has my own personal method of understanding, it was transferred to a number document below.

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A screen shot of the digital form created.

Using this digital document allowed me to use formulas for calculating money. This method was learnt at school and has been a beneficial tool in running my business. It was taught to me through the means of business enterprise relating the formulas and tools through the real life use of mathematics (Schliemann and Carraher, 2002. p.262).

This gave the opportunity for easy alterations as opposed to creating confusion on a written piece of paper. This transformed from a written document to a digital literacy for ease and efficiency. A number of literacy practices were happening at once such as emails, Facebook comments and verbal communication, using this form to hold all of the data collected from different ways within this literacy event.

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Although the digital form was created for ease, I printed a hard copy to have in hand when verbally communicating with people to chase outstanding monies, this was to make it easier to see at a glance and then transfer the information when ready to the digital form.

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Using a community digital platform allowed others to communicate more authentically, using symbols such as emojis to represent their thoughts. These newer ways of communicating and creating literacies are more "collaborative, participatory, interactive, distributive, non-linear, highly multimodal and creative" (Tour, 2017. p.417).

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This social media post was by a member of the community. The opportunity to post online enabled her to ask her question quickly. The use of 7 words, one shortened is accepted on social media, but when emailing this person constructs full sentences with an introduction and a close to the message. Using social media offers a platform for people to speak as they think, with a more informal manor without having to consider the preconceived use of formality constructed literacies. Tour (2017, p.414.) suggests that technologies have extended how people read, write and communicate, allowing people to adapt how they create literacy dependant on the space, audience and situation.

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After a few queries via different communication platforms I posted on our social media private group to reach out to the masses to avoid having more personal emails or messages.
Posting on social media as the Principal of the theatre school holds more power than if another member of the community posted the same message. As I run the company and organised the trip there is a pre-established level of authority when giving instructions which may have been questioned if posted by another member allowing my posts to naturally become "more dominant, visible and influential than others" (Barton and Hamilton, 2012. p.7).

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When planning this trip there were many forms of communication. The initial email was long, detailed and constructed in full sentences and paragraphs. This email was a 'quick reminder' to everyone to give them the final opportunity to book tickets. A reminder is usually short and a thought to trigger your memory, therefore this email was written concisely, straight to the point with tones of informality and every day speech but also urgency by using a time scale. Digital literacies continue to break down barriers of the formality of language and are now making written language more interactive "so that writing of all kinds has become more and more like having a conversation". (Jones and Hafner, 2012. p.13).

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As you can see from this email, the writer confirms our verbal communication but also goes on to reiterate something she had previously asked. Although the email is structured with an introduction and signed off with her name the rest of the formation seems rushed and informal with spelling mistakes and incomplete sentences. The use of capital letters for "NO PROBLEM AT ALL" was used to emphasis her feelings behind the email. Had this been said in a social media comment the incomplete structure of her sentences and even the mistakes may not have been noticed as it is more commonly seen within this style of literacy. This was also sent in an email as it was a request, the matter was personal as opposed to something like this on a public platform.

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This was a social media post created by myself when the physical tickets had arrived to create excitement and engagement within the community. (Barton and Hamilton, 2012. p.13)

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All of the communication from the theatre was via a website or through email except this one. This theatre still choses to send physical tickets in the post as opposed to using e-tickets. I believe there is something more meaningful about holding a physical ticket, something you have bought in your hand. This ticket is your pass into the event but you only have one copy. It could be considered that this may make the tickets and therefore the experience more valuable and precious as you have to look after this documentation to prove your purchase. 120 tickets were sent to me and then divided and placed in named envelops, given out to the purchaser. Organising a trip like holds responsibility, but when passing over the ticket you are passing over the responsibility with the hard copy.

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It is a tradition at a pantomime for the cast to do 'shout outs', saying hello to an audience member. This is only learnt from being involved in pantomimes from childhood and apart of my funds of knowledge of this culture,  confirming that we need a "historical approach for understanding of ideology, culture and traditions in which current practices are based" (Barton and Hamilton, 2012. p.12). Therefore I personally reached out to ask if this was happening although there was no information available publicly, meaning that having this previous knowledge gave me an advantage and resulted in a better event experience as our group had preferential treatment by being mentioned by the cast. The language used is assumptive and informative of what my expectations were. From the email below you can see that this way of communication was not their standard practice for this literacy event but they gave instructions as to what to do next. (See post below)

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This imagery is a replica of a printed slip I was verbally asked to fill out for a 'shout out'. By hand writing my information allowed the theatre crew to know what we were called and what we wanted the cast to say. This slip was then handed to the workers in the box office, passed backstage and complied onto a hand written list on a clipboard. The clipboard was given to the cast member who read out the information to the audiences resulting in a big verbal response of cheering and clapping from us audience mentions who were mentioned. Within this event there are many elements of literacy, this shows how the shared language can be passed along numerous people was ease and speed. This small slip that one person completed created a better experience for 120 audience members. This literacy event is iconic to the style and communication of pantomime where practices such as 'shout-outs' are paramount to the involvement of the audience, creating relaxation, more enjoyment and more participation for all (Millie, 2007. p.132).

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The action required verbal communication to continue. (See post in next column)

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This theatre followed up the trip with an email advertising the following year's pantomime using similar imagery to the previous year. By sending an email to a captive audience, that is tailored using familiar associated literature is a marketing strategy that monetises from this new digital literacy platform.

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This simple imagery has created a lot of thought. Upon walking into the theatre my four year old shouted, "that says Aladdin". I knew it wasn't because she could read the word but because she had associated the imagery with the posters, advertisements and stories that we had previously seen and discussed. (Brice Heath, 2004. p.90)  The style of font and the colours used created a clear message to her. This also links to the use of titles created from understanding of story books, films and productions. The title is prominent and can be easily understood from its overall image as opposed to the formation of the letters themselves.

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At the theatre show programmes were sold. These programmes use the same imagery as the poster creating a style link and include a variety of literacies inside; write ups on the actors, a list of scenes and songs, lists of the production team, adverts and other engaging pages such as word-searches and colouring competitions. The use of a programme is limited in its literacy events. An audience member purchases this piece of literacy to read and engage with in whichever way they want, usually on their own. This is primarily created just to give information and is a limited literacy event in terms of social practice.

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This vernacular literacy was a post on my own personal social media documenting my trip to the theatre. This post was not created for social interaction or verification but to create a snap shot of my event through images and short comments on my social media, personally for me to look back through. (Barton and Hamilton, 2012. p.249).

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It is identified that when discussing personal matters the use of email is used as it is more private. Full sentences and correct grammar and punctuation are present, expect for the abbreviation of Covid-19 to C-19. This is an assumed language by the writer that the reader would understand this term. This email is expressing the writer's concerns but doesn't call for action. However a response was created due to general cultural practise in communication.

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Although when on the phone to the box office the adviser had agreed the change my booking, it felt natural to ensure this had been done in writing. As Mace (2005, p.5) explains the written event supplies us with evidence should anything go wrong. The five words "your tickets have been reserved" were enough to ease my concerns although a thorough verbal conversation which has previously occurred involved a lot more detail.

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Barton, D. and Hamiliton, M. (2012). Local Literacies: reading and writing in the community 2nd Edition Oxon: Routledge.

Brice Heath, S. (1994). What no bedtime story means: narrative skills at home and school. In: MAYBIN, J. (ed) Language and literacy in social practice. Clevedon: Multilingual Matters Ltd. pp. 73-95. Available at: https://unilearn.southwales.ac.uk/webapps/blackboard/execute/content/file?cmd=view&content_id=_6875518_1&course_id=_178140_1 [Accessed on: 9th December 2021].

Jones, R and Hafner, C. (2012). Understanding Digital Literacies : A Practical Introduction. Taylor & Francis Group, London. Available from: http://ebookcentral.proquest.com/lib/usw/detail.action?docID=981750. [Accessed on 5th January 2022].

Mace, J. (2005). Literacy events, practices and values. In Mace and E. Fowler (eds) Outside the classroom: researching literacy with adult learners. Leicester: NIACE. Available at: https://unilearn.southwales.ac.uk/webapps/blackboard/execute/content/file?cmd=view&content_id=_6875517_1&course_id=_178140_1 [Accessed on: 20th November 2021].

Millie, T. (2007). British Pantomime Performance. [Online]. Intellect Books Ltd. Available at: https://ebookcentral-proquest-com.ergo.southwales.ac.uk/lib/usw/detail.action?docID=327860. [Accessed on: 4th January 2022].

Schlieman, A and Carraher, D (2002). The Evoluation of Mathematical Reasoning: Everyday versus Idealized Understandings. [Online] Developmental Review 22, 242-266. Available at: https://www.sciencedirect.com/science/article/pii/S0273229702905472?via%3Dihub [Accessed on 6th January 2022].

Tour, E. (2017). Understanding Digital Literacy Practices: What Can Be Learnt with Visual Methods?. [Online]. Changing English. Available at: https://doi.org/10.1080/1358684X.2017.1304815. [Accessed on 6th January 2022].