Wisdom in Education
Volume 2 | Issue 1
Article 4
5-1-2006
Where Visual Literacy and Identity Meet:
Adolescents Define Themselves Through
Participation in a University Video and Art
Enrichment Program
Susan Daniels
California State University San Bernardino
Patricia Little
California State University San Bernardino
Linda M. Reynolds
California State University San Bernardino
Alayne Sullivan
California State University San Bernardino
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Recommended Citation
Daniels, Susan; Little, Patricia; Reynolds, Linda M.; and Sullivan, Alayne (2006) "Where Visual Literacy and Identity Meet:
Adolescents Define Themselves Through Participation in a University Video and Art Enrichment Program," Wisdom in Education: Vol.
2: Iss. 1, Article 4.
Available at: http://scholarworks.lib.csusb.edu/wie/vol2/iss1/4
This Article is brought to you for free and open access by CSUSB ScholarWorks. It has been accepted for inclusion in Wisdom in Education by an
authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected].
Where Visual Literacy and Identity Meet: Adolescents Define Themselves
Through Participation in a University Video and Art Enrichment Program
Abstract
This article summarizes a project that oriented one hundred and twenty-five gifted and talented middle-school
students to university culture through a series of summer workshops that emphasized visual media. Various
workshops introduced students to methods of video and art production. The middle-school students created
short videos and artistic collages to represent their identity in response to two activities: (a) in-depth
explorations of the California State University campus at San Bernardino; and (b) literary reading. Art and
video production are revealed as a powerful means of middle-school students’ identity formation and
expression; the work summarized herein gains credence through its alignment with seminal work in the field
of visual literacy theory and research.
Keywords
reading, art education, visual literacy, identity
Author Statement
Dr Susan Daniels and Dr Alayne Sullivan are professors in the College of Education, California State
University San Bernardino. Patricia Little and Linda Reynolds are graduate students at California State
University San Bernardino.
This article is available in Wisdom in Education: http://scholarworks.lib.csusb.edu/wie/vol2/iss1/4
Daniels et al.: Visual Literacy and Identity
Where Visual Literacy and Identity Meet: Adolescents Define Themselves
Through Participation in a University Video and Art Enrichment Program
Susan Daniels, Patricia Little, M. Linda Reynolds, and M. Alayne Sullivan
College of Education
California State University San Bernardino
Abstract
This article summarizes a project that oriented one hundred and twenty-five gifted and talented
middle-school students to university culture through a series of summer workshops that emphasized
visual media. Various workshops introduced students to methods of video and art production. The
middle-school students created short videos and artistic collages to represent their identity in
response to two activities: (a) in-depth explorations of the California State University campus at San
Bernardino; and (b) literary reading. Art and video production are revealed as a powerful means of
middle-school students’ identity formation and expression; the work summarized herein gains
credence through its alignment with seminal work in the field of visual literacy theory and research.
Introduction
Middle-school students are often seen as challenging to work with by professionals in the field of
education. Even those who are academically successful can often be perceived as seething with
hormones, conflicted by personal relationships, and fragmented by divergent interests and
preoccupations. So when the students involved in this summer enrichment academy became
intensely focused in the visually-based workshops designed to expose them to a university culture,
and define identity in that context, the results seemed worth sharing. The one hundred and twentyfive gifted and talented middle-school students who participated in two-week summer workshops
are enrolled in seven GEAR UP middle schools in Southern California. GEAR UP (Gaining Early
Access and Readiness for Undergraduate Programs) is a federal initiative program that supports
academic development and a college-going culture in middle-school students. The work featured in
this article grows out of the partnership between California State University, San Bernardino
(CSUSB) and seven schools in three particular underperforming school districts. Considered part of
what is termed the Inland Empire, San Bernardino school districts have very high numbers of
school contexts challenged by poverty and low Academic Performance Index scores. GUIE – Gear
Up Inland Empire – refers specifically to the partnership between CSUSB and the three middle
schools that sent one hundred and twenty-five of their gifted students to campus for summer
workshops on talent development and university preparation. This cohort of eighth-grade students
receives enrichment services and their teachers participate in professional development at CSUSB at
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the graduate level for infusing project-based learning and higher-order thinking skills within their
school curriculum. The visual literacy emphasis of the GUIE summer enrichment workshops offers
a powerful model for development of middle-school students’ identity in the context of literary
reading and video production activities. The literature on visual literacy is vast. The projects on
literary reading and video production that are summarized here are most closely associated with
work that emphasizes, first of all, the central connection between visual thinking and almost all
aspects of human intercourse (Arnhein, 1969, 1979; Berger, 1980; Gallas, 1994; Eisner, 1992; Gee,
1997; the New London Group, 1996; and Daley, 2003). Secondly, a fair amount of published work
on the distinct relationship between literary reading and visual literacy stands in close kinship with
the emphasis of this article (Sullivan, 2004; Alvermann, Hinchman, Moore, Phelps, & Waff, 2006;
Claggett, 1992; Moline, 1995; Cecil, & Lauritzen, 1994; and O’Brien, 2001; New London Group,
1996). Thirdly, visual representation as a valid data source and means of expression is discussed in
multiple venues; this work stands in support of that reported here as well (Flood, Heath & Lapp,
1997; Denzin & Lincoln, 2000).
The GUIE Summer Enrichment Academy was designed around four broad goals:
1. Project-based learning that emphasized [a] critical thinking; [b] problem
solving, and [c] creativity;
2. Relationships with [a] faculty, [b] teacher-mentors from the three district
middle-schools involved in the project, and [c] other talented students
from the three middle schools in the project;
3. Familiarity with the CSUSB campus, atmosphere, facilities and physical
environment, and;
4. Enhanced self-awareness and identity exploration.
The goals are ordered above to suggest that the first three of them engender the most important one
– that of enhanced self-awareness and identity exploration. So, as a result of (1) project-based
learning and (2) relationships with key participants in the project, the middle-school students are led
to (3) gain familiarity with a university campus. These three elements are the foundation for
achieving the fourth goal – (4) the middle-school students’ exploration, development and enhanced
of their self-identity. One of the intentions of the GEAR UP model is that middle-school students’
identity is at least somewhat shaped by a sense of themselves as prospective university graduates. All
of the work undertaken by the GEAR UP initiative is shaped around the intention that middleschool student’s sense of self is reinforced toward the goal of becoming a university-educated citizen
of society. Certainly, a big part of the GUIE summer project was structured to facilitate the student’s
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Daniels et al.: Visual Literacy and Identity
exploration and enhancement of their self-identity through visual media exploration. Since the video
production in which the students were involved was a central aspect of their one-week summer
activities, that aspect of the program is described first.
KidVid: Videography, Ethnography, and Self-Identity
Two of the summer workshops addressed the goals of the GEAR UP Summer Enrichment
Academy by featuring video production. In the Introduction to Videography workshop, middleschool students learned to use a variety of hardware and software products to produce videos
expressing unique aspects of their identities. In another complementary workshop entitled
Videography, Sociology and Ethnographythe students explored the physical geography and facilities
of the campus, and interviewed various university personnel; all of these explorations and interviews
were videotaped. Thus the two workshops complemented one another in terms of their video
emphasis and their address of the goals for the Academy. The project-based learning of the first
workshop featured video production that depended on relationships among university faculty
leading the workshops, as well as teacher mentors, various university personnel and the middleschool students themselves. Finally, the underlying fourth goal of the Summer Academy was the
students’ exploration, development and enhancement of self-identity. Toward that end, each one of
them produced a video that aligned specific elements of their self-identity with an aspect of the
university culture. The methods though which the Introduction to Videography workshop met these
goals will now be described in detail.
The Introduction to Videography workshop emphasized the technical process through which the
students would use a video camera, employ shooting techniques, frame shots, and change camera
angles for varied shots ranging from outdoor physical settings to indoor interviews of people. In
addition to basic technical manipulation of the camera, students were introduced to the design
process of storyboarding, sequencing of shots, and planning for balanced footage among indoor and
outdoor shots and interviews. Finally, the workshop also included an emphasis on how to employ
editing software and apply it to achieve a coherent final product. Each student produced a oneminute video that represented his or her own personal exploration of the campus and interviews
with campus faculty and support staff. The students did indeed become video designers, producers,
directors, and stars – a tall order given the seven-day framework for the GEAR UP Summer
Enrichment Academy (SEA). Their final one-minute film entailed a complete production process
including a storyboard, script, live footage, B-roll, narration, music, sound effects, still images,
animated graphics, video effects, an introduction, and credits!
The Introduction to Videography workshop forwarded the goals of the SEA by engaging the
middle-school students in a video production project entailing the cooperation of workshop leaders,
teacher mentors, and university faculty. Perfectly suited to the GEAR UP mission and the SEA
goals, the students produced their one-minute videos about their self-identities in relation to their
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own explorations of the CSUSB campus. Each student was paired with one other student, allowing
everyone to be both a live subject and a camera operator. Workshop time was allotted to provide
whole-class instruction for pre-production set-up. This part of the process for each student’s oneminute film entailed guidance in how to conceive an original idea, do research, write a synopsis,
choose a format and point-of-view, draw a storyboard, and write the dialogue for the script. Wholeclass instruction was also dedicated to basic techniques for conceptualization, perspective taking,
sequencing, analysis, editing, revision, synthesis, and evaluation. Individual workshop time was
allotted for filming and post-production editing. In fact, the post-production time was extensive,
entailing about two hours of post-production time for each final minute of video footage.
A key method used to teach the middle-school students in the Introduction to Videography
workshop was called just-in-time teaching. Fundamentally, this approach involves providing an
overview of the video-production process from beginning to end, then spot-teaching as need arises.
Thus, once an overview of the basic introduction to pre-production, filming, and post-production
was offered, students were offered one-on-one responses to specific technical and design needs “inthe-moment” as various demands arose for bringing their visual sketch of themselves to a final
realization. This process depended on the assumption that middle-school students have a tacitly
internalized lexicon of visual language processing that can be drawn on as they are guided to
produce a semiotic structure of their identities through video. In presenting this workshop to the
students, the assumption was that video production would be intrinsically motivating to the students
as a vehicle for self-expression of identity relative to explorations of the CSUSB campus culture and
environment.
Figure 1 shows students in the midst of collaborative post-production assembly of their video
footage. They are working to produce a one-minute film depicting key elements of identity in
relation to a university environment.
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Figure 2 shows two students learning to experiment with the technical aspects of using a camera as
they also plan for the footage they need to create their one-minute identity videos.
Adolescents’ Identity Development and Visual Literacy
Almost thirty years ago Erikson (1968) suggested that the formation of a strong and coherent sense
of identity was the crucial developmental step associated with the transition from adolescence to
adulthood. A fair amount of focus has been dedicated to the ways in which social factors affect
adolescent identity (Marcia, 1980; Waterman 1985). These writers have paid close attention to how
personal identity development is interwoven with social relatedness – that is, how identity
development unfolds in terms of group identification and relationships in a particular social world.
Leisure activities are an inherently important of this network of social relatedness and identity
formation. Luke and Elkins’ (1998) work in critical literacy suggests that the omnipresence of new
media technologies holds enormous implications for teachers and professionals working with
adolescents. Also, Lenhart, Rainie, and Lewis (2001) report that seventy-three percent of teenagers
use the Internet for various reasons; together these sources document the centrality of visually-based
activity time absorbed by teenagers. Goodman’s (2003) work in New York City focuses specifically
on how teachers there work with students to produce video documentaries; Goodman laments the
disconnect that arises when education fails to recognize and incorporate the social and cultural
contexts in which adolescents live their lives. This special book suggests a powerful connection
between video production and adolescent identity development. Further, Daley (2003) argues that
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the multi-media language of a visual screen (such as found in video) offers the opportunity to
construct and interpret complex messages often not possible through print. The viewer/producer is
afforded an opportunity to interact directly in a meaning-making construction. All of these
discussions reinforce the work of the SEA. The middle-school student’s video constructions
involved both the reading and interpretation of one’s own being and the writing and production of
that vision of self and identity through video. Video production may be a perfect medium for the
post-modern expression of adolescent identity, as it is fundamentally a multi-modal and multi-media
dimensional creation of being. The work of the GUIE Summer Enrichment Academy rests on the
established connections between adolescents’ identity development and their saturation in leisure
activities involving the visual medium of video, among many other visually-based sources
(Broughton & Fairbanks, 2003; Moje, Willes, Fassio, 2001; Myers, Hemmett, McKillop, 2000). The
ways in which the Videography, Sociology and Ethnography workshop furthered the work on
identity exploration through video production will now be presented.
The Videography, Sociology and Ethnography also depended on video production as a central part
of this one-week workshop. Students videotaped their travels as they toured the campus and
interviewed various people there. It was assumed that the students would have the best opportunity
to appreciate the university campus if they could align it with aspects of their own personal needs.
Thus, this course was structured to complement the GUIE goals for the Summer Academy by
linking the students’ explorations of campus with elements of their own personal identity. As a way
of beginning the workshop process, the students looked at six specific area of their needs that might
be met at a university campus: physical, environmental, creative, social, emotional, and intellectual.
These areas are derived from work by Dabrowski (1964) that looks at development of creativity in
relation to areas of personality development.
On the first day of the Videography, Sociology and Ethnography workshop, each student wrote
about him/herself from the perspective of each of the six areas of identity mentioned above. Once
again, these six areas are: (i) physical, (ii) environmental, (iii) creative, (iv) social, (v) emotional, and
(vi) intellectual. The workshop leader and teacher-mentor participated in this writing activity so that
the students would see that the adults valued the writing and exploration process. Once writing time
was complete, the students gathered in groups of three to share writing and to learn enough about
one person within their triad to be able to introduce that person to the rest of the class. As the
personal introductions took place, elements of each student’s personal identity (from among the six
explored) were placed on six petals that surrounded the center of this flower. Once students and
workshop leaders understood one another in terms of various needs that a campus culture might
meet, larger petals were added to this visual sketch of a flower. The six smaller petals represented
aspects of each middle-school student’s identity, and the six larger petals around the outside of the
flower then depicted the various organizations and parts of a campus culture that might address
each individual’s needs. For example, one smaller petal of the flower might depict an element of a
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student’s physical self and might be seen with a larger petal under it that stood for the recreation
center, the pool or perhaps the intra-mural sports team.
The students each produced a visual sketch that showed a completed a twelve-petal flower. Six
smaller petals were placed around the center of the flower for each unique aspect of their (i)
physical, (ii) environmental, (iii) creative, (iv) social, (v) emotional, and (vi) intellectual identities. Six
larger petals were placed around the outside of each of the inner petals to represent various parts of
the university campus that might address the six elements of identity placed most closely around the
center of each flower. The flower appeared on a white board every day of the seven days of the
workshop and was the basis of each day’s planning and discussion. During each one of the
remaining six days of the workshop, one after the other of each student’s identity petals was the
focus of the day. Day after day, planning time was used to decide on interviews of campus personnel
and university facilities that might complement or address one particular aspect of the students’
physical, environmental, creative, social, emotional, and intellectual identity. In this way, a complete
portrait of an identity flower was constructed with an inner layer of petals representing students’
identities, and an outer layer depicting a feature of the university that would address each of the six
identity elements.
Figure 3 shows students obtaining footage of the recreation center; they moved from here to other
campus spots that featured the sports and sports complexes.
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Figure 4 shows a student (with peer colleagues in background) gathering footage in preparation for
her video statement of self in alignment with the arts and social sciences facilities.
On almost all of the workshop days, a videographer accompanied the students around the campus
as they moved to various locations and interviewed people. If they were focusing on creative aspects
of self, they might explore the visual and performing arts facilities and interview staff and faculty
members in those locations that could respond to questions about that part of a university campus.
The video production process played an enormously important role in the students’ exploration of
self in connection with the university. The consciousness that they were involved in actually
producing a final and complete product seemed to deepen their sense of the work’s importance and
value. The work of identity exploration relative to a university campus environment became vested
with huge significance as it was joined to the video production process. The realization that other
people would see their work caused the students to be very engaged in all aspects of this work. As a
result of the many related phases of the Videography, Sociology and Ethnography workshop, the
goals of the Gear Up Inland Empire, Summer Enrichment Academy were met.
On the final day of this workshop, students added another dimension of visual engagement to their
work. Each one of them used various art media and cash register tape to create their own version of
their identity flower. The cash register tape was folded into fans holding important words
characterizing their experiences of the interviews and campus tours. Each student’s flower was thus
a unique expression of their time at CSUSB. Through the video and art production process, students
created a sense of themselves in direct connection with a university campus. Thus the specific
overall goal of enhanced self-awareness and identity exploration was not only discussed but
concretized in multiple ways from the students’ perspectives.
It is important to see this work not only as a fluidly successful method through which adolescents
might evolve a vision of themselves as university-educated citizens but also in terms of how both the
Videography, Sociology and Ethnographyand Introduction to Videography workshops jibe with
current trends in the field of sociocultural theories of literacy. Gee’s (1992; 1996; 1997), Wertch’s
(1991), and Hugo’s 2000) approaches to how the mind is saturated in the brine of its cultural
touchstones are prominent in this picture. Gee tells us that all engagements in the world are situated
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in a cultural and situational context. Becoming literate and establishing a secure sense of identity
means engaging in the proliferation of visual media that forms the sociocultural landscape of the
lives of adolescents. If, as teachers, we are not leading students through a critical realization and
construction of themselves in light of the visual contours of their media-drenched lives, we are
probably not touching on what matters most to them. Creating identity through video production
brought them into an entirely conscious awareness of the dimensions of their psyches. Over the past
five years the Journal of Adolescent and Adult Literacy has published dozens of articles espousing
the value of engaging adolescents in the primary symbols of their worlds – this often entails the
semiotics of visual literacy (Alvermann, 2001; Moje, Young, Readance & Moore, 2000; & Luke &
Elkins, 1998; Luke 2002; Kamil, Intrator, & Kim, 2000).
Summary
The GEAR-UP Summer Enrichment Academy was structured to help one hundred and twenty five
gifted middle-school students engage in visually based activities that would help them explore
aspects of their identity. The Gear Up goal is that these students will refine elements of identity
relative to a view of themselves as university attendees and graduates. The visually-based acts of
video and art production were of fundamentally central importance to the process of identity
formation that was forwarded through the visual literacy workshops. The visual dimensions of the
workshops became the semiotic vehicle through which and with which the students were able to
construct and refine identity in light of their explorations of the CSUSB campus. The visual literacy
acts of video and art production were a vehicle that carried the students into an affective and critical
consciousness of themselves as socioculturally centered beings relative to their current and future
identities as university-going members of society. This works rests within the context of much
recent research that looks at how adolescents might refine literacy, and explore identity in a context
designed to respect the multimedia realities of their lives.
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