ETL504 2.3: Promoting the Teacher-Librarian’s Visibility and Value

How can we take the perception of the TL’s role from the keeper and stamper of books in the quiet place to something different?

I think it’s fair to say that as a profession teacher-librarians have an image problem. Way back at the start of this degree I wrote about Bonanno’s keynote speech in which she described teacher-librarians as an ‘invisible profession’ (Lysaught, August 29 2021a) and the misconception that the library is purely about books (Lysaught, August 29 2021b). A 2021 study revealed that in the US, teacher-librarian numbers declined 20% in the past decade (Ingram, July 19, 2021), and this trend of shrinking school libraries is being replicated in Australia (Tidball, February 10, 2023) alongside stagnating or declining budgets, staffing levels, and staff engagement or support (Softlink, 2022, p.6-7).

Maybe, like a good dancer, we make our work look effortless. Maybe too much of what we do is in the background of busy teachers’ days. One thing that’s for sure is that we need to work on improving our visibility and perceived value to our school community if we are to ensure the future of our profession (Weisburg, 2020).

Moir, Hattie and Jansen (2014, p.37) identified a number of key attributes that teachers perceived as important for leaders:

They also state that “Trust is often best developed in team environments, as then there is opportunity for collaboration and shared decision-making, especially when there is a common focus on improving teaching and learning” (p.39). Bush and Glover (2014, p.554) also discuss the idea of leadership as influence rather than stemming from formal authority, which suits teacher-librarians since we often lack official leadership positions in school hierarchies. Both discussions relate beautifully to the work of the teacher-librarian as literacy expert and information specialist, and they highlight a key way that teacher-librarians can both improve their visibility and their perceived value to their school community through collaborative programming, teaching, and assessment which supports the work of time-poor classroom teachers.

The work of Crippen and Willows (2019, p.174) highlights the 10 characteristics of servant-leaders, and teacher-librarians are uniquely placed to assist healing for colleagues overburdened by heavy workloads, administrivia, and poor student behaviour: “Through their actions as servant leaders they are facilitating a healing process and followers often look to them for support when times are difficult or something traumatic has occurred (Barbuto and Wheeler, 2007).” Teacher-librarians can also exhibit the persuasion trait of servant-leaders: “Supovitz (2018) also describes how teacher leaders use strategies such as leading by example, earning their colleagues trust and encouraging and collaborating with their peers.” 

Another area where teacher-librarians can shift the perception of the school community is in the space surrounding emerging or rapidly changing technologies. A 2016 article notes that “By virtue of their training, relationships, systems knowledge, and instructional roles … teacher librarians are ideally suited to lead, teach, and support students and teachers in 21st century schools” (Digital Promise, 2016). Digital literature has the potential to move students from passive consumers to active creators of content while engaging them with the process and ethics of digital content creation (Lysaught, October 4 2022), and Artificial Intelligence is another emerging space where teacher-librarians can position themselves as experts to increase their visibility and perceived value (Lysaught, March 5 2023). It is imperative that we stay current with new and developing technologies to best position ourselves as experts in this field. Our expertise in copyright and the ethics of digital tools alongside our ability to connect the General Capabilities to specific learning programs is invaluable – however, we need to ensure that we’re promoting our abilities in this area and marketing collaborative teaching and planning as a benefit to time-poor teachers rather than just another thing to add to their plates. 

Weisburg (2020) argues that while there are numerous barriers to showcasing our value, as a profession we have no other option. We must make it a priority to develop our visibility and promote our value to our school community or we run the risk of becoming obsolete. Weisburg suggests that teacher-librarians should start by looking for ways to showcase what we’re already doing; social media posts, visible displays, and staff emails can promote this work among the school community, while annual library reports can increase the perception of our professionalism and showcase for senior leaders much of the behind the scenes work that goes into running a library (Lysaught, March 5 2023). Weisburg’s suggestion about speaking at P&C meetings is another interesting one which links well to our aforementioned technology expertise. The most crucial aspect of Weisburg’s article for me was the concept of “chopportunities” – “challenges that can be turned into an opportunity.” So much of what affects the library is decided without our input and while it can be tempting to fall into the “why bother?” disheartened state of mind, for our own protection (and sanity!) reframing these issues as “chopportunities” can be a way to reclaim some sense of agency and showcase the benefits we provide to our school communities. 

 

References:

Bush, T. & Glover, D. (2014). School leadership models: What do we know? School Leadership and Management, 34(5), 553-571. https://doi.org/10.1080/13632434.2014.928680

Crippen, C. & Willows, J. (2019). Connecting teacher leadership and servant leadership: A synergistic partnership. Journal of Leadership Education, 18(2), pp. 171-180. https://journalofleadershiped.org/jole_articles/connecting-teacher-leadership-and-servant-leadership-a-synergistic-partnership/

Digital Promise (2016). The new librarian: Leaders in the digital age. In SCIS Connections, (96). https://www.scisdata.com/connections/issue-96/the-new-librarian-leaders-in-the-digital-age/

Moir, S., Hattie, J. & Jansen, C. (2014). Teacher perspectives of ‘effective’ leadership in schools. Australian Educational Leader, 36(4), 36-40.

Softlink (2022). 2022 Australian and New Zealand school library survey report. https://www.softlinkint.com/resources/reports-and-whitepapers/

Weisburg, H. K. (2020). Leadership: There is no other option. Synergy, 18(1). https://slav.vic.edu.au/index.php/Synergy/article/view/369/364

ETL503 4.2 Creative Commons Licensed Resources

Locate at least two Creative Commons licensed resources. Write a short description of each and explain the CC license chosen.

Resource 1: Disney by Marc Levin


I chose this resource because I know that the House of Mouse can be quite protective of its IP, and I wanted to ask whether this resource was actually covered by Creative Commons. I found it on Flickr at https://bit.ly/3HgzuLT with the generic attribution licence logo, but I’m wondering if it is legally covered by this licence since Disney (the creator and copyright holder) is not the poster of this material. Instead it looks like Levin has taken a screenshot (with a computer mouse icon included). What’s everyone’s thoughts on this?

Resource 2: How Disney Writes a Villain Song by Polyphonic

Watch Video

Duration: 9:42
User: n/a – Added: 19/10/18
I found this on YouTube by filtering my search using the Creative Commons option. This resource was shared under the Creative Commons Attribution licence allowing reuse. Again, I’d be interested to know if Polyphonic’s use of Disney’s images and music is legal to begin with. YouTube’s copyright policy states that creators shouldn’t use content in their videos that someone else owns the rights to; though this video might be covered by the USA’s Fair Use laws and Australian content creators might be covered by our similar Fair Dealing exemptions: research or study; criticism or review; parody or satire; reporting the news; enabling a person with a disability to access the material.

ETL503 4.1 Copyright Questions for Teachers and Students

From your reading of the Smartcopying website, choose some facts you think teachers or students in your school may not be clear about. Develop two questions for each fact – one for teachers and one for students.

From my experience, a lot of people in schools don’t seem to understand that their actions are “unreasonably prejudicing” the rights of the copyright holder and misunderstand the licensing terms we operate under – I’ll admit that prior to studying for this degree I was just as ignorant. Just recently I had a DP email me to check because a staff member thought it was ok to give our students access to free book torrent sites because it was ‘educational’. I also had to step in when a Year 12 student tried photocopying an entire textbook so he could have his own copy over the holidays!

I’ve come up with the following questions:

For staff: Can I show a movie from Netflix to my class as a reward for them finishing their assessment task?

Answer: Under section 28 of the Copyright Act 1968, staff are allowed to show films, television or radio in their classrooms when it is for educational instruction and not for profit. HOWEVER, if this activity does not have an educational purpose, our school is legally required to obtain a Co-Curricular Licence to avoid copyright infringement. Also, Netflix’s Terms of Use 4.2 state that their content may not be shared with individuals beyond your household and shall not be used for public performances, with the exception of a limited number of documentaries (you can find out more here).

If you wish to legally watch a film with your class please ensure that it is a) educational and b) does not break the service provider’s Terms of Use. You can use our school’s Clickview account to avoid these issues.

For more information please refer to the following resources:

Films and Videos in Schools: https://smartcopying.edu.au/guidelines/films-and-videos/

Netflix Terms of Use: https://help.netflix.com/en/legal/termsofuse

 

For students (though staff might need reminding too!): How much can I photocopy from this textbook?

Answer: It depends. You are allowed to copy limited amounts of material without seeking permission from the copyright owner as long as you are copying for:

  • research or study
  • criticism or review
  • parody or satire
  • reporting the news.

The amount you are allowed to copy depends on whether you are unreasonably affecting the rights of the copyright owner to be fairly paid for their work. If the resource is freely available for you to purchase, you should either a) purchase your own copy; b) only photocopy a reasonable portion (a good guide is 10% or one chapter – whichever is greater); or c) seek the copyright holder’s permission to copy more.

No matter how much you copy, you should be labeling it with the details of the copyright owner/author, the name of the resource, where it was copied from, and when it was copied. Where possible, try to copy only what is absolutely necessary or link to the original material instead. Using Creative Commons licensed material will also help you avoid copyright infringement.

For more information about photocopying, please explore the following resources:

Students and Copyright: https://smartcopying.edu.au/students-and-copyright/

Scanning – What am I allowed to do? https://smartcopying.edu.au/scanning-what-am-i-allowed-to-do/

 

Another student in this unit also posed this question, which I think is a great example of how social media in the school context can totally confuse the issue. I’ve copied the information here for future reference, since I’m now a member of the school’s Social Media Committee:

A student is filmed playing a copyrighted song. Can this recording be shared via the school’s Facebook page?

Answer: From https://smartcopying.edu.au/music-copyright-guide-for-schools/

Making audio or video recordings

Under the School Event Licence schools are able to make recordings (this includes both visual and audio recordings):

  • of school events at which musical works are performed or a sound recording is played
  • to play at a school event (eg copying music to CD or MP3 to play at a school graduation)
  • to include in a video or electronic presentation (eg classroom PowerPoint slides, or in presentations at assemblies or functions)
  • to play in class, whether face-to-face or virtual (eg in order to play musical works and sound recordings relevant to material being studied).

The recordings made by the school should display the following notice:

‘This recording has been made under a licence from AMCOS and ARIA for school purposes only’.

Schools must also display the following details of each musical work captured in the recording:

  • the title
  • the composer/arranger
  • the artist and recording company (if the school is using a backing track).

Schools can also authorise members of the school community to make recordings of music performed at school events for private and domestic listening or viewing by members of the school community (eg parents, guardians and friends can make a video of a presentation night at which the school band played).

Recording a school event

Schools can make a recording (including an audio or video recording) of a school event at which musical works are performed and/or sound recordings are played. Schools can also synchronise a musical work or sound recording with an existing recording of a school event (eg to add a backing track).

Remember to label the recording in the following way:

‘This recording has been made under a licence from AMCOS and ARIA for school purposes only’.

You must also display the following details of each musical work captured in the recording:

  • the title
  • the composer/arranger
  • the artist and recording company (if you are using a backing track).

For example, you could have this information flash up in the final credits.

What can I do with the recording of our school event?

Schools can do the following with recordings of their schools event(s):

  • upload the recording to the school website
  • upload the recordings to a password protected school server, intranet or DTE and make this available to parents, guardians and students. For example if parents and guardians are unable to attend an assembly or graduation day, the school could send them a link to the recording on the school’s password protected intranet and allow them to download a copy for their private use.
  • upload the recording to an app that is being used by the school for internal school communications to members of the school community, such as Schoolbag, Seesaw, Compass and SZapp. This is limited to apps being used by the school for internal school communications, and would not include apps like Snapchat or TikTok.
  • email/message a copy or make a physical copy of the recording (eg copy it on to a USB) and distribute it (for a no cost or on a cost-recovery basis) to members of the school community (eg students and parents or guardians)
  • provide a digital or physical copy of the recording to third parties , including other schools and administering bodies, for the purpose of events the school is or would like to participate in (eg competitions and festivals)
  • stream a live communication of the school event from the school’s website.

Uploading a recording or live streaming a school event to social media

Schools can rely on the school’s music licences to upload recordings of their school events, or live stream their school events, to the school’s official social medial page on social media platforms such as Facebook and YouTube. In order to communicate (ie make available) those recordings from those social media pages, school can rely on the licences that APRA AMCOS and record labels have with the social media platforms.

Note, that where a musical work or sound recording is being performed or played at a school event, the post may still be blocked or muted, see ‘Blocking or muting of events on social media’ below.

Blocking or muting of events on social media

Music recording companies (ie record labels) and some music publishers use software to identify potentially infringing content on social media platforms, such as Facebook. When a school live streams a performance where a musical work or sound recording is being played, or uploads a musical work or sound recording, this software may alert Facebook or other social media platforms to mute the recording or send a takedown notice to the school. If you are concerned about a live stream or recording being muted or your school being issued with a take-down notice, contact the National Copyright Unit.

Alternatively, you may want to consider uploading the recording to your school website or password protected digital teaching environment or intranet.

ETL401 2.5 The Teacher Librarian in the Information Landscape

Why it is important to have an understanding of the broader information landscape?

How you think the information landscape will affect your role as a TL in a school?

This week I fell down the rabbit hole. What started as a seemingly simple search for “most active social media platforms 2021” quickly spiralled into a flurry of pages on algorithms, business models, data use and abuse. Many of these things I’d heard about in passing but had never really had the time to delve into on a more meaningful level.

Technology has obviously had an immense impact on the information landscape. Some of this has been positive – for instance in bringing together marginalised individuals, or making information more accessible to people with disabilities. Yet there are a number of downsides to the digital information landscape that we cannot ignore. Therefore it is crucial that teacher librarians have not just an understanding of the broader information landscape, but that we have a deep knowledge and maintain currency about these evolving issues. If we do not, we cannot effectively fulfil our roles as information specialists. It also struck me with the reading from the modules and my own research this week that people will not be able to enjoy their rights of access to information if they lack the skills to navigate and evaluate these information platforms.

I found it interesting to consider our rights and responsibilities regarding information access. I think that a lot of people focus on their rights (for example, their right to an opinion) but often forget that there are associated responsibilities around our interaction with the information landscape. We have the right to freedom of opinion and expression, and the right to seek, receive and impart information. We have the right to privacy, as well as the right to access the infrastructure which will allow us access to information (though as I discussed in my previous post, this is not always guaranteed!). In this context libraries of all kinds play a crucial role in ensuring that peoples’ rights to access information are being upheld. However, it was interesting for me to consider that these rights could be restricted by law when necessary, if they were deemed to contravene the rights of others, or if they negatively impacted national security or order, or public health or morals. We live in a world which blurs the lines between facts and opinions, and the idea of who gets to determine if something is ‘necessary’ or harming ‘public morals’ was also interesting for me to consider. It is important to remember these responsibilities, especially in times of global pandemic such as ours. Yet the subjective element here leaves it open to potential abuse and censorship, and the fact that our national commitment to these rights and responsibilities is more of an implicit understanding than something enshrined in law is problematic. For instance, what if a family complains that Harry Potter is on the shelves, or content that they see as promoting Black Lives Matter or LGBTQI+ agendas? Or conversely, that there isn’t enough diverse content? The paradox of tolerance is something to consider here, and the response a teacher librarian would get in one school context might differ in another. 

Our right of access to information is further complicated by issues of technological redundancy and convergence. In particular I couldn’t help but think about my own school context and the fact that all too often outdated or damaged technology was not updated, repaired or replaced due to budget constraints. Are funding arrangements, budget allocations and BYOD policies creating what Floridi called “digital favelas” in some schools? I also couldn’t help but consider my own failings with certain technological tools. I normally consider myself pretty tech-savvy, but for the life of me I cannot figure out the 3D printer I inherited when I became the teacher librarian. We’ve recently had a new deputy push for Macs to be integrated into our programs. Heaven help me!

Finally, my research and the module readings this week prompted me to consider the ways that our students are accessing information as digital natives. Modern students are primarily engaging with information (whether for their own entertainment or not) in virtual spaces. In Purcell is correct in her assertion that promotion of our services and resources is vital to our role as teacher librarians, then should we adapt to the online world and utilise social media marketing strategies that will reach and engage them with our content more effectively? Our school community engages heavily with Facebook and we’ve recently created an Instagram page to encourage greater student engagement. However, what are our ethical responsibilities when it comes to using and encouraging the use of these platforms? Are we leaving people in our school community vulnerable to data miners who could potentially sell their information and content to advertisers, politicians or government agencies? Are we pushing them to use platforms which could expose them to algorithms and content which could potentially cause harm? Are we encouraging them to become “unpaid machine trainers” whose data could be used to teach the very machines that might replace them in the workforce? On the surface it appears that having a library Instagram account is a fun way to get students interested, but in reality it is a potential ethical minefield. As teacher librarians we must be mindful of our interactions with these platforms and their function in the information landscape, and as information specialists encourage our school community likewise to maintain awareness of their behaviours.