The main things to come out of this project, was that it is quite difficult to define "Australian" identity, and even harder to assess if children in the 0-7/8 age bracket are able to articulate what this even means. The research indicates that children are not really able to identity what they mean by "being Australian" until they are in the 11-13+ age bracket.
This doesn't mean that issues around teaching pre-school aged children about “Australian” identity should be abandoned though or to suggest that this endeavor has no value.
What was more interesting though was the argument put forward by Gee (1999) about the big "D" discourse. I also found the work by Shore (2008), which related to online worlds, quite relevant as well. I wonder if perhaps online worlds like "ABC for Kids" and "Sesame Street" with their interactive games and use of characters, (who also feature strongly in their accompanying television shows), are somehow preparing children for more advanced play and immersion in the online game worlds, as articulated by Steinkuehler (2008), and also by Buckingham (2008). Where learning the rules of the world you are in, the hidden meanings, etc are all literacies in themselves.
Interacting in online worlds like "Sesame Street", as outlined by Shore (2008), also encourages other new world literacies, including meeting people of different backgrounds and different races (e.g multiculuralism).
Unfortunately, I was only able to lightly touch upon a whole range of issues, ranging from use of accent; to the mixture of 'new' and 'old' literacies; the groups that are not represented in Australian children's television; as well as tackling only the surface issues related to teaching young children about 'Australian' identity.
However, this has hopefully given me a sense of where to continue my studies in the future. As I was unable to find research exactly related to what I was interested in, perhaps this means that there is lots of room to continue to explore these ideas further.
Sunday, October 24, 2010
Friday, October 22, 2010
Putting it all into some context
As I come towards the end of this project, I thought it might be worthwhile to place what is happening with the content of some of these Australian's children's television shows/websites, into the broader context of Australian film literature. Although the issues being dealt with in the following articles are not specifically related to "Australian" identity in children's television, there are some similarties, just like with the references to Australian children's story books, mentioned in a previous entry.
An interesting article by Simmons (2003) notes that:
“National identity is fluid, not fixed. From the unashamed rural archetypes of many early Australian films, such as The Sentimental Bloke (1919) and The Squatter’s Daughter (1933) and Jedda (1955) (both dealing with Indigenous issues in the language of assimilation), to the Ocker genre, to the costumed nationalism of the ‘period’ films of the seventies, to the filmic subversion of the bush myth in the eighties and nineties, Australian film has increasingly embraced discourses which tell us about the instability and indeterminacy of national aspirations, ethos and experience”. (p.58.)
The article does a thematic review of different periods in Australian film. It documents the shift away from more traditional bush themes as it notes:
An interesting article by Simmons (2003) notes that:
“National identity is fluid, not fixed. From the unashamed rural archetypes of many early Australian films, such as The Sentimental Bloke (1919) and The Squatter’s Daughter (1933) and Jedda (1955) (both dealing with Indigenous issues in the language of assimilation), to the Ocker genre, to the costumed nationalism of the ‘period’ films of the seventies, to the filmic subversion of the bush myth in the eighties and nineties, Australian film has increasingly embraced discourses which tell us about the instability and indeterminacy of national aspirations, ethos and experience”. (p.58.)
The article does a thematic review of different periods in Australian film. It documents the shift away from more traditional bush themes as it notes:
“more recently these rural myths have been challenged and subverted by a new focus on urban life, a response to new stories that have taken root in a more pluralist, eclectic society” (p.59). (Simmons, 2003).
It is noteworthy that as far as the Australian film literature is concerned, the use of "bush themes" is a little past its used by date. Of the examples chosen in this project, the bush theme was only really present in "The Koala Brothers" which is produced in the UK. This show and its themes may therefore reflect more of an 'outsiders' view of Australia, (with an emphasis on the more stereotypical "Australian" themes like the bush and bush animals).
However, as also noted by Simmons (2003), the bush theme is not quite dead. Although its more recent incarnations tend to represent a more "chic rural female character", with examples such as McLeod's Daughters . It is possible that a character like 'dirtgirl' stems from this more modern interpretation of the bush life (or farm life), where a competant female character is running things.
It is noteworthy that as far as the Australian film literature is concerned, the use of "bush themes" is a little past its used by date. Of the examples chosen in this project, the bush theme was only really present in "The Koala Brothers" which is produced in the UK. This show and its themes may therefore reflect more of an 'outsiders' view of Australia, (with an emphasis on the more stereotypical "Australian" themes like the bush and bush animals).
However, as also noted by Simmons (2003), the bush theme is not quite dead. Although its more recent incarnations tend to represent a more "chic rural female character", with examples such as McLeod's Daughters . It is possible that a character like 'dirtgirl' stems from this more modern interpretation of the bush life (or farm life), where a competant female character is running things.
A scene from McLeod's Daughters - Source: http://mcleodsdaughters.ninemsn.com.au/slideshow_index.aspx
Another interesting issue to arise from reading some Australian film literature, in particular the article by Rekhari (2008) is the exclusion, marginalisation or reinforcement of stereotypes in the depiction of Indigenous Australians in Australian film. It is not possible to address all of the complexities of this article in this project, but it is worth noting that apart from some didgeridoo type music in the opening song of "The Koala Brothers", there is very little representation of Indigenous Australians in the Australian children's television shows explored within this project. The one general exception possibly being "Play school" (which was not included as a case study in this project). As noted in Mackinlay, E., & Barney, K.(2008) "Play school" does make an attempt to include Indigenous Australians as presenters in the show. However, the article also noted that previously, the show had (in earlier days) only featured Indigenous Australians as 'exotic others' - by depicting them only in scenes such as traditional dances, rather than featuring Indigenous Australians taking part in every day Australian life.
Sunday, October 17, 2010
And now we welcome the "Koala Brothers", all the way from the UK....
"The Koala Brothers" is a tv show that features on the ABC for Kids website - although it should be noted it does not have a dedicated website within the broader website, unlike "dirtgirlworld" and "Banana's in Pyjama's". This is quite possible because ironically, the "Koala Brothers" is not a home grown product. It is produced in the UK
"The Koala Brothers" is in stop motion animation (whereas "dirtgirlworld" and the "Banana's" are 2D animation, and the "Banana's" also appear as people in suits). The type of animation used is not relevant to the scope of this project, but it is worth noting that "The Koala Brothers" do differ from the previous two television shows, in terms of its animation style.
"The Koala Brothers" main characters are called "Frank" and "Buster" and they fly a small plane. They live in the outback with a range of other characters including "Sammy" the echnida, "Josie" the kangaroo, "Alice" the platypus, "Archie" the crocodile etc.Most characters speak with an Australian accent, except for the exercising crocodile, "Archie" (in image below), who has a British accent.
In opening sequence to the show, there is an accompanying song. Within the last few bars of the song, there is the distinct sound of a didgeridoo. The main 'banner' for the show (featured above) also has a boomerang featured in the design.
In terms of fitting the criteria of "Australian" identity as outlined in the previous blog entry, the show appears to meet a lot of the criteria, including:
"The Koala Brothers" follows in the tradition of marsupials dressed as humans, established by such concepts as "Blinky Bill" (created in Australia by YorramGross).
As noted on the Yorram Gross website , Yorram immigrated to Australia from Poland in 1968.
It is interesting how both "Blinky Bill" and "The Koala Brothers" feature many elements that relate to "Australian" identity themes, however neither creator originates from Australia.
In thinking about this, I may now go and have a look through some literature related to Australian film and identity. Only in order to establish if there is something of use in this literature that might help with the project.
source: http://mojoesemporium.co.uk.
"The Koala Brothers" is in stop motion animation (whereas "dirtgirlworld" and the "Banana's" are 2D animation, and the "Banana's" also appear as people in suits). The type of animation used is not relevant to the scope of this project, but it is worth noting that "The Koala Brothers" do differ from the previous two television shows, in terms of its animation style.
"The Koala Brothers" main characters are called "Frank" and "Buster" and they fly a small plane. They live in the outback with a range of other characters including "Sammy" the echnida, "Josie" the kangaroo, "Alice" the platypus, "Archie" the crocodile etc.Most characters speak with an Australian accent, except for the exercising crocodile, "Archie" (in image below), who has a British accent.
In opening sequence to the show, there is an accompanying song. Within the last few bars of the song, there is the distinct sound of a didgeridoo. The main 'banner' for the show (featured above) also has a boomerang featured in the design.
In terms of fitting the criteria of "Australian" identity as outlined in the previous blog entry, the show appears to meet a lot of the criteria, including:
- democracy; agreeableness of personal characteristics (e.g., friendly, kind, fair - as discussed previously, this is a fairly common trait in most television shows aimed at pre-schoolers)
- uniqueness and diversity of environment (landscape, animals, weather, conservation - this is a very strong, and distinctive feature of this show as both the landscape (outback), animals (unique Australian marsupials) and weather are key features of the program);
- sporting prowess; (there is an episode titled "Penny's Big Game" which is all about an 'outback cricket match' and the crocodile character is constantly exercising outdoors)
- rules of citizenship (birth, living here, citizenship, pride, language - features a lot of Australian language
- and lifestyle"(the animals do seem to enjoy a lot of the stereotypical features of the Australian lifestyle, they seem to own their own business' and homes and enjoy lots of leisure time playing sport and eating ice cream).
"The Koala Brothers" follows in the tradition of marsupials dressed as humans, established by such concepts as "Blinky Bill" (created in Australia by YorramGross).
As noted on the Yorram Gross website , Yorram immigrated to Australia from Poland in 1968.
It is interesting how both "Blinky Bill" and "The Koala Brothers" feature many elements that relate to "Australian" identity themes, however neither creator originates from Australia.
In thinking about this, I may now go and have a look through some literature related to Australian film and identity. Only in order to establish if there is something of use in this literature that might help with the project.
Friday, October 15, 2010
Hanging out with "Dirtgirl"
Dirtgirl or her show "dirtgirlworld" is another show (and/or set of characters) than can be located in "ABC for Kids" online. According to the credits page, "dirtgirlworld" is a 52x11min preschool animation series co-production between a number of Australian and Canadian based production houses (co creators are Cate McQuillen and Hewey Eustace).
According to this project's established critiera for what "Australian" identity is (as outlined in blog entry) dirgirl contains a number of recognised "Australian" themes including:
For example, a recent publication by Julie M Davis, titled "Young Children and the Environment: Early Education for Sustainability" (published by Queensland University of Technology, (2010), cover blurb notes the following::
"Young Children and the Environment tackles one of the biggest contemporary issues of our times – the changing environment ..." (source:http://www.cambridge.org/aus/catalogue/catalogue.asp?isbn=9780521736121&ss=fro)"
Picture sourced from: http://www.abc.net.au/children/dirtgirlworld/
"Dirtgirlworld" has four main characters. The lead character is "dirtgirl" who seems to have a scientific background. It is not clear if "dirtgirl" is an adult or a child, but she has an Australian accent. The male lead character is called "scrapboy", as he likes to collect (and recycle) pieces of scrap/junk. He also has an Austsralian accent. There are also three insect characters, a spider, a grub (called "Grubby") and "Ken" (the weevil). Both "Ken" and "Grubby" speak with Canadian accents and have human-like faces.
As outlined on the MeMeMe Production website, "dirtgirlworld" aims to represent:
"real kids in real gardens having unreal fun. dirtgirlworld is a celebration of life outside".
dirtgirl and scrapboy - photo sourced from an interesting article on the show, featured here - http://www.girl.com.au/dirtgirlworld-go-get-grubby.htm
According to this project's established critiera for what "Australian" identity is (as outlined in blog entry) dirgirl contains a number of recognised "Australian" themes including:
- personal well-being (safety, health, education - for example in episodes 31 and 44, "dirtgirl" was very keen to spend time teaching the audience about how to read a map, how to work together with others on a scavenger hunt, and to learn about how rainbows are made);
- democracy; agreeableness of personal characteristics (e.g., friendly, kind, fair - as already noted, most programs targeted at the pre-school group tend to be friendly and kind. "dirtgirl" and "scrapboy" don't appear to agrue and treat all their insect and animal friends kindly and humanely);
- rules of citizenship (language - Canadian and Australian)
dirtgirl is shown in other countries, including the BBC in the UK, and according to this article, also has a range of clothing and merchandise.
For example, a recent publication by Julie M Davis, titled "Young Children and the Environment: Early Education for Sustainability" (published by Queensland University of Technology, (2010), cover blurb notes the following::
"Young Children and the Environment tackles one of the biggest contemporary issues of our times – the changing environment ..." (source:http://www.cambridge.org/aus/catalogue/catalogue.asp?isbn=9780521736121&ss=fro)"
As well as tacklling current environmental issues, "dirtgirlworld" also fits in with the definition of 'new literacies' as explored by Shore (2008) in the previous blog entry. "Dirtgirlworld" not only has a very sophisticated online presence at http://www.abc.net.au/children/dirtgirlworld/ (which features lots of games and learning activities like a 'matching' card game and 'watering' your garden activity), but the television show itself, invites the audience to get involved via its "green thumbs" segment. During the "green thumbs" segment, we see lots of pre schoolers dressed in "green thumbs" t-shirts participating (or demonstrating how to participate) in whatever the show's main theme for the day is. For example in Ep.20, the "green thumbs" were invited to go on a scavengerhunt to find something "soft", "something that smelled nice" etc. In Ep.31. they were invited to "make a rainbow" using flowers and fruit.
dirtgirl on her tractor - source: http://www.abc.net.au/abcforkids/shows/s2948139.htm
Although this show demonstrates a few of the themes mentioned in this project's criteria for what is "Australian", this show may also be attempting to portray a different kind of Australia, where there is more of an emphasis on science (over sport for example) and female characters seem to have a strong voice and are capable of taking the lead. Perhaps it aims to promote Australia (and its co producing company of Canada) as 'environmentally responsible' nations. Perhaps this is part, or the beginning, of a new dialogue where local issues are also global issues. Also "dirtgirlworld" itself is a farm of some sorts and could be anywhere in the world. The very use of the word "dirtgirlworld" could indicate that this place is universal in theme and that the inhabitants of "dirtgirlworld" are more like citizens of the world, joined together to help protect the environment (or maybe not!). Either way, in comparison to "Banana's in Pyjama's", "dirtgirlworld" is representative of a whole new world in both early children's entertainment and possibly new literacy as well.
Saturday, October 9, 2010
Ahhh... a "Lightbulb Moment"...
While looking around for a bit more information on accent and literacy (linking up with my previous blog entry) I came across an article by Amy Shore (2008) titled "Convergence Citizens: The New Media Literacy of Pre-School Television", in Afterimage, Vol. 37, issue 2, 2009.
This article steps away from the more detailed thread I was follwoing with identity, and looks a bit more at the bigger picture, which might be helpful at this point in time. The major point of this article is how it clearly explains how television actually sits across two media landscapes. One being 'old media' which includes television, print media, and radio and the other being 'new media' which can include:
"digital, computerized, or networked information and communication technologies that allow for new modes of content delivery (downloads and file sharing), media experience (interactive DVDs and iPods), and media production (viral videos and blogs). (no page ref).
There is also mention of a related 'new media' goal, which is to encourage multiculturalism. Shore points to the example of the American children's television show "Sesame Street"
"[as a] a form of media literacy based in the old media landscape to produce children as multicultural citizens whose media "citizenship" was formed through a highly mediated participatory community." (no page ref)
After reading this article by Shore (2008) it is much easier to idenitfy how the show mentioned in my aforementioned blog entry on the "Banana's in Pyjamas", fits into the new literacy landscape. The show itself is 'old media', in that there is no ability to interact with the characters on the show itself directly. It encourages passive watching. Also, unlike "Sesame Street" which is falling over itself to provide 'learning moments', a show like Banana's is more about entertainment. As noted by Hopkinson (2005) one of the original creators behind Banana's brief clearly stated that:
Although the transition from tv to internet is slightly more clunky than the seamless transition made by "Sesame Street", the Banana's concept does participate quite successfully in the new media landscape when the website and television show are viewed in conjunction with each other..
This success in part, may be due to another reason that Shore (2008) mentions, and that is the creation of the virtual world/television network as place. Shore cites Nickelodeon (a large US based children's network) as an example of this:
"{Nickelodeon of Nick Jr] is not only intended to be a place for children's television it is to be my place for children's television. ..."Nick Jr. is therefore a 'personality' and a place … it is also 'owned' and inhabited by the child viewer--it is 'just' for them."( n2)
Shore is quoting the work by Karen Lury, "A Time and a Place for Everything Children's Channels," in David Buckingham, ed., Small Screens: Television for Children (London and New York: Leicester University Press, 2002).
The point being made here is fascinating and puts a whole other spin on my thoughts with this project in regards to learning "identity". The "Banana's" website, actually forms part of a larger network of sites known collectively as ABC for Kids. On entering the website
This article steps away from the more detailed thread I was follwoing with identity, and looks a bit more at the bigger picture, which might be helpful at this point in time. The major point of this article is how it clearly explains how television actually sits across two media landscapes. One being 'old media' which includes television, print media, and radio and the other being 'new media' which can include:
"digital, computerized, or networked information and communication technologies that allow for new modes of content delivery (downloads and file sharing), media experience (interactive DVDs and iPods), and media production (viral videos and blogs). (no page ref).
There is also mention of a related 'new media' goal, which is to encourage multiculturalism. Shore points to the example of the American children's television show "Sesame Street"
"[as a] a form of media literacy based in the old media landscape to produce children as multicultural citizens whose media "citizenship" was formed through a highly mediated participatory community." (no page ref)
Source: https://wiki.brown.edu/confluence/display/mcm1700p/Sesame+Street
A quick visit to the "Sesame Street" website confirms why the show is referenced by Shore (2008) as being a leader in the new media landscape. There are online videos, interactive games to play, and the characters on the show (such as Elmo) are 'speaking to you' as soon as you enter the site. The movement between watching the characters on the site and interacting with the games on the site is quite seamless. Added to this, the emphasis again and again is on learning. Whether it's about learning about different shapes, different letters, basic numeracy, etc, it is very hard to find anything that doesn't appear to have a 'learning moment' (Shore, 2008) embedded within in it.
Source: http://celebritybabies.people.com/2008/12/03/advent-house-an/
After reading this article by Shore (2008) it is much easier to idenitfy how the show mentioned in my aforementioned blog entry on the "Banana's in Pyjamas", fits into the new literacy landscape. The show itself is 'old media', in that there is no ability to interact with the characters on the show itself directly. It encourages passive watching. Also, unlike "Sesame Street" which is falling over itself to provide 'learning moments', a show like Banana's is more about entertainment. As noted by Hopkinson (2005) one of the original creators behind Banana's brief clearly stated that:
'this series will have no educational agenda. It is to provide nothing but entertainment for our audience" (p.16)
Welcome to the world of Sesame Street - Source: http://www.gpb.org/sesamestreet
What carries the Banana's into the new literacy landscape though is its website. With the date range of the series being 1992-2002, it's highly probable that the website as it is today, was not part of the original concept. The Banana's website, unlike the show, is full of quite a few 'learning moments' such as a memory game, a colour game, a mix n match game. There are also instructions on how to download images from the show and how to make the characters into fingerpuppets and paper dolls..
Activities from the Banana's in Pyjama's website
Although the transition from tv to internet is slightly more clunky than the seamless transition made by "Sesame Street", the Banana's concept does participate quite successfully in the new media landscape when the website and television show are viewed in conjunction with each other..
This success in part, may be due to another reason that Shore (2008) mentions, and that is the creation of the virtual world/television network as place. Shore cites Nickelodeon (a large US based children's network) as an example of this:
"{Nickelodeon of Nick Jr] is not only intended to be a place for children's television it is to be my place for children's television. ..."Nick Jr. is therefore a 'personality' and a place … it is also 'owned' and inhabited by the child viewer--it is 'just' for them."( n2)
Shore is quoting the work by Karen Lury, "A Time and a Place for Everything Children's Channels," in David Buckingham, ed., Small Screens: Television for Children (London and New York: Leicester University Press, 2002).
The point being made here is fascinating and puts a whole other spin on my thoughts with this project in regards to learning "identity". The "Banana's" website, actually forms part of a larger network of sites known collectively as ABC for Kids. On entering the website
you are 'greeted' by "Jimmy Giggle" and "Hoot the Owl" who encourage you to 'have fun', while in what is effectively being promoted as an 'online world'. Within the world there are games, videos, a playroom, an area where you can 'make things' etc. All of the characters and storylines featured on the website come from ABC children's television shows though, like "Banana's in Pjyama's"
Jimmy Giggle and Hoot the Owl from http://www.abc.net.au/children/
Further blog entries will continue to explore what this means in terms of "Australian" identity (for example, are children now more likely to identify with these 'online' worlds more readily than they will with their real life worlds - ie Australia) by looking at the other two selected ABC shows - "dirtgirworldl" and "The Koala Brothers".
Friday, October 8, 2010
The "Australian" Banana's
Hopkinson (2005) provides some background on the "Banana's".
"Bananas in Pyjamas' originated as a nonsense song composed by Carey Blyton, a music professor and coincidentally the nephew of Enid Blyton, for his young son in the late 60s." (p.15)
The Australian tv favourite, "Playschool" picked up the song and it was so popular that a banana was added to the cast. So it is therefore assumed that the "Banana's" concept originated in England, but was popularised and adapted into a television show by Australian television producers.
There were no available online video's of the Banana's to download from the ABC net website during the September/October 2010 period. A quick search of YouTube located some episodes from 1992. As noted on the Australian Screen website, the Banana's in Pyjama's episodes ran from 1992-2002. However, they still show these episodes on the ABC television station a few times a week.
The "Banana's" originally featured people in suits (however an ABC News article from 2009 notes that the characters are now going into 2D animation as well - see http://www.abc.net.au/news/stories/2009/06/18/2602041.htm). There are three bear characters, and the two banana's, who are portrayed as twin brothers. All the creatures live on a street called "Cuddles Lane". Each episode runs for about 5 minutes.
The "Banana's" almost appear universal in their stories, in that "Cuddles Lane" could be anywhere in the world. As noted on the official "about" website the "Banana's" are seen in 70 countries around the world. The website also proudly proclaims that the "Banana's" have been on the "Oprah" tv show! This is quite amusing as it suggests that you don't really hit the world stage until you have been on the "Oprah" show!
Looking at a number of "Banana in Pyjama's" episodes on YouTube including "Lost Voice", "Dreamtime" and "Take One" (seen above) there does not seem to be many of the nine themes (quoted in a previous entry) related to "Australian" identity present. "Diversity" might be present, as we have two pieces of fruit mixing it up with their neighbours who are teddy bears (best described as 'non-fruit' perhaps??) ...did I really just write that?! And there is evidence of "agreeableness of personal characteristics", but then one would wonder about a children's television show aimed at pre-schoolers that didn't demonstrate these kinds of characteristics.
The most obvious Australian characteristic present in the show is the Australian accent. The two "Banana's" have a strong Australian accent, however one of the bear's (Lulu) seems to speak in what sounds like a French accent (?) The role of language in defining something as being "Australian" is mentioned under the "rules of citizenship" theme.
"Bananas in Pyjamas' originated as a nonsense song composed by Carey Blyton, a music professor and coincidentally the nephew of Enid Blyton, for his young son in the late 60s." (p.15)
Source: http://www.abc.net.au/
The Australian tv favourite, "Playschool" picked up the song and it was so popular that a banana was added to the cast. So it is therefore assumed that the "Banana's" concept originated in England, but was popularised and adapted into a television show by Australian television producers.
There were no available online video's of the Banana's to download from the ABC net website during the September/October 2010 period. A quick search of YouTube located some episodes from 1992. As noted on the Australian Screen website, the Banana's in Pyjama's episodes ran from 1992-2002. However, they still show these episodes on the ABC television station a few times a week.
The "Banana's" originally featured people in suits (however an ABC News article from 2009 notes that the characters are now going into 2D animation as well - see http://www.abc.net.au/news/stories/2009/06/18/2602041.htm). There are three bear characters, and the two banana's, who are portrayed as twin brothers. All the creatures live on a street called "Cuddles Lane". Each episode runs for about 5 minutes.
The "Banana's" almost appear universal in their stories, in that "Cuddles Lane" could be anywhere in the world. As noted on the official "about" website the "Banana's" are seen in 70 countries around the world. The website also proudly proclaims that the "Banana's" have been on the "Oprah" tv show! This is quite amusing as it suggests that you don't really hit the world stage until you have been on the "Oprah" show!
Source: http://www.abc.net.au/news/stories/2009/06/18/2602041.htm
Looking at a number of "Banana in Pyjama's" episodes on YouTube including "Lost Voice", "Dreamtime" and "Take One" (seen above) there does not seem to be many of the nine themes (quoted in a previous entry) related to "Australian" identity present. "Diversity" might be present, as we have two pieces of fruit mixing it up with their neighbours who are teddy bears (best described as 'non-fruit' perhaps??) ...did I really just write that?! And there is evidence of "agreeableness of personal characteristics", but then one would wonder about a children's television show aimed at pre-schoolers that didn't demonstrate these kinds of characteristics.
The most obvious Australian characteristic present in the show is the Australian accent. The two "Banana's" have a strong Australian accent, however one of the bear's (Lulu) seems to speak in what sounds like a French accent (?) The role of language in defining something as being "Australian" is mentioned under the "rules of citizenship" theme.
Sunday, October 3, 2010
So what is meant by "Australian Identity"?
Buckingham (2008) speaks of two different meanings for identity. One being about the individual (and their uniqueness) and the other one which is related to this project's interest in 'identity', which defines "identity" as "[that which] is about identification with others whom we assume are similar to us (if not exactly the same), at least in some significant ways." (e.g. national identity).(p.1).
Overall, I think it is still quite difficult to define "Australian" identity. What may encapsulate a sense of belonging to one person, may not be the case for others. It seems even more difficult to find any kind of academic work related to children in the early childhood bracket (0-7/8 year olds) and their views on what "Australian" identity is. One of the papers investigated in a previous blog entry (Purdie and Wilss 2007) highlights that very little work has been done so far on researching how children understand or interpret "Australian" identity.
Yet, as highlighted by the book review from Galda and Tobin (1992) there is a lot of reading material aimed at the younger age bracket that contains stereotypical images of what it means to be "Australian".
Overall, the initial literature review into understanding "Australian" idenitty has revealed a few themes, best described by the research of Purdie and Wilss (2007) and described on this previous post.
Although these themes come from adolescents, rather than small children, they will form the basis of the next section of this project, which will look at whether these representations of "Australian" identity are present in the three shows chosen from the ABC website - (Banana's in Pyjuama's, dirtgirlworld and The Koala Brothers).
Another issue to consider has come up through an article by Howard (1994) which explores issues around 'reality'. Whether children for example, perceive the "Banana's in Pyjama's" to be real or not. Which brings me back to my premise about Gee's "big D" discourse. If the children who watch these television shows are still grappling with the concept of reality, then isn't it possible that these children could be engaging with these characters in the character's own make believe world? And if so, what does this mean as far as literacy is concerned?
The other interesting thing I have come across so far, has included the negative emphasis on television in regards to early childhood education. Searches on metalib across databases - using the term 'early childhood" and 'television' has a tendency to bring up negative issues like - early childhood and television and obesity. There seems to be an automatic assumption that television is bad for children. Yet, television is often the first major media interaction young children have and many of the characters from television, like Banana's in Pyjama's, dirtgirl and The Koala Brothers have their own accompanying websites with intereactive games etc. Therefore, the characters themselves often have a cross platform multimedia persona.
So I am somewhat confused by the separation of televisoin (bad) from other media forms (e.g. computers) which are seen to have a somewhat higher educational value? I could just be imagining this though and this line of thought is unfortunately outside the scope of this project. But worth mentioning.
Overall, I think it is still quite difficult to define "Australian" identity. What may encapsulate a sense of belonging to one person, may not be the case for others. It seems even more difficult to find any kind of academic work related to children in the early childhood bracket (0-7/8 year olds) and their views on what "Australian" identity is. One of the papers investigated in a previous blog entry (Purdie and Wilss 2007) highlights that very little work has been done so far on researching how children understand or interpret "Australian" identity.
Australian beaches (Bondi, Sydney is pictured above) are another popular image representing "Australia". Source of image - http://www.lastbeach.com/australia/australian-beaches-tips-hints-and-surfing-bondi-style/
Yet, as highlighted by the book review from Galda and Tobin (1992) there is a lot of reading material aimed at the younger age bracket that contains stereotypical images of what it means to be "Australian".
Overall, the initial literature review into understanding "Australian" idenitty has revealed a few themes, best described by the research of Purdie and Wilss (2007) and described on this previous post.
Although these themes come from adolescents, rather than small children, they will form the basis of the next section of this project, which will look at whether these representations of "Australian" identity are present in the three shows chosen from the ABC website - (Banana's in Pyjuama's, dirtgirlworld and The Koala Brothers).
Another issue to consider has come up through an article by Howard (1994) which explores issues around 'reality'. Whether children for example, perceive the "Banana's in Pyjama's" to be real or not. Which brings me back to my premise about Gee's "big D" discourse. If the children who watch these television shows are still grappling with the concept of reality, then isn't it possible that these children could be engaging with these characters in the character's own make believe world? And if so, what does this mean as far as literacy is concerned?
Image of children watching television from an American website titled "The Parents Zone" which provides advice to parents on how to manage their children's television watching habits. The emphaise is that too much television is bad for your child.
The other interesting thing I have come across so far, has included the negative emphasis on television in regards to early childhood education. Searches on metalib across databases - using the term 'early childhood" and 'television' has a tendency to bring up negative issues like - early childhood and television and obesity. There seems to be an automatic assumption that television is bad for children. Yet, television is often the first major media interaction young children have and many of the characters from television, like Banana's in Pyjama's, dirtgirl and The Koala Brothers have their own accompanying websites with intereactive games etc. Therefore, the characters themselves often have a cross platform multimedia persona.
So I am somewhat confused by the separation of televisoin (bad) from other media forms (e.g. computers) which are seen to have a somewhat higher educational value? I could just be imagining this though and this line of thought is unfortunately outside the scope of this project. But worth mentioning.
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