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04/25/2024
Keeley Flanigan
No Subjects

“The racial and cultural personality of the Black community must be preserved and the community must win its freedom while preserving its cultural integrity” (Stokely Carmichael)

My project “Stories of Resilience”, was born out of a need for cultural integrity. Cultural integrity is defined as the process of honoring, respecting, and protecting the materials, traditions, and knowledge that originate from a particular community or culture (Brislin, 2015). Oftentimes, due to the marginalization of many communities and the commodification of minority culture, people find their identities being overlooked or lost. Because of this, it's important for people to preserve the customs, behaviors, ideas, language, stories, and works of arts that define their culture. For those who exist outside of that community's culture, they must show proper allyship by recognizing those identities and demonstrating respect for all that comes with it. For libraries, allyship, representations, diversity, and inclusion is vastly important.

The Director of the Diversity Programs at Mayo Clinic, defines the act of allyship as "when a person of privilege works in solidarity and partnership with a marginalized group of people to help take down the systems that challenge that group's basic rights, equal access, and ability to thrive in our society."(). Performing cultural integrity is one way in which others can be an ally to those with minoritized backgrounds. This requires honest and ethical behavior that does not override the voices of those who need to be protected. When they are not in the room make sure their presence is heard, and when there is an opportunity for them to be in the room, ensure that space is made (Cultural Integrity - Manitoba Arts Council, 2020)

As a librarian, there are many occasions in which we have the chance to represent and support various different communities. This can be done through our collection, the displays we showcase, community outreach, inclusive events, public statements, and more. I believe that one of the reasons libraries are so good at supporting their communities and others through their diverse and inclusive practices is because they are strongholds of unbiased knowledge. Libraries are not meant to discriminate on the basis of personal belief, speech, or background when it comes to providing services and access to information. There is a level of neutrality that every library must have. This is important when it comes to serving patrons, but can become a double edged sword when it comes to community support. Which is exactly why I found myself encountering a problem when it came to event planning for the holiday season. The holiday in question, being Thanksgiving.

Most people know the history of Thanksgiving and the ensuing celebration that comes with it. In the United States, it is overwhelmingly seen as a day to give thanks, while for others it is a day of mourning. This juxtaposition between two vastly different perceptions of this holiday can make event planning around this time of year hard. Do we overlook this side of history to continue on with a tradition that means a lot to some people or do we curtail any events involving this holiday out of respect? What would either option say about the library and how would it affect patrons ability to feel safe and welcome in the space? 

Because of this I decided to begin a project called, “Stories of Resilience” counter-storytelling and oral history. My intent behind this project was to create a space where people could speak about the traditions they have in their families and their own cultural background, with an emphasis on those who come from a marginalized community. In doing this, issues surrounding cultural events due to a difference in narrative, can be counteracted by the personal experiences of those who are affected by these and other moments in history. This is because counter-storytelling is a way to reflect on our experiences and knowledge, they inform others on people's life experiences. 

Counter-cultural storytelling is a method of Critical Race Theory that is used to uplift the voices and stories of marginalized and underprivileged people. It is considered to be a radical form of inclusion and resistance to the dominant narratives that lead to erasure and misconstruction of minority stories. This method is used to gather evidence from different communities through interviews, surveys, participant observations, ethnographies, and other similar practices. By adding in oral history, which is a method of historical research that involves collecting historical information about people, families, important events, or everyday life using audiotapes, videotapes, or transcriptions of planned interviews. The ways and manner in which we can reach people is expanded. Both practices bring the power of telling minorities stories back in their hands, which was my main purpose in creating “Stories of Resilience”. I wanted to give people the opportunity to speak about their own life experiences and personal background without recourse. While this project is still in development, I am hoping students continue to share their stories with Dominican in an effort to showcase the different people that make up this community.

The library exists as a space for people to make connections with what is around them. This includes connecting to oneself, to information, to our needs, and to the community as a whole. These connections are something that needs to be celebrated and put on display. Libraries are 100% capable of doing that, and have been considered an experience that is shared within and without the community. When we plan events and perform different projects, creating a space and bringing in materials that will serve, reflect, and inspire patrons should be at the forefront of every thought. The objective of creating Stories of Resilience was to give students an opportunity to come in and share parts of their identity and culture that has allowed for them to remain resilient against life struggles. Click on "Stories of Resilience Mission Statement" to share your stories.

Stories of Resilience Mission Statement

Similar to Dominican University’s mission statement, the Rebecca Crown Library has emboldened itself with creating an environment that pursues truth, offers compassionate services, and contributes to the effort of making a more humane and just world. It is the responsibility of faculty librarians to ensure that this space is inclusive and meets the expanding needs of students. To do just that, the Rebecca Crown Library is undertaking an oral history counter-storytelling project based on your stories of resilience. This will include, but is not limited to, cultural stories, traditions, histories, art, music, and ideologies. 

What does it mean to survive and remain resilient? As a minority, it can be difficult to keep a hold of your identity against structures of power that seem to erase you.  We are put under an inordinate amount of pressure to conform to a majority-based standard. Because of this, many people find their identities and life experiences to be undervalued, if not discredited. The rare instances in which minority stories are told, it is almost presented as an afterthought, put on the wayside due to being viewed as conflicting with the dominant narrative.  

As a result, many people find themselves assimilating to the dominant culture’s views and regulations for survival. People are being asked to hold themselves up to an image that is unrealistic and unattainable. While others are being told to put themselves in a space that is not welcoming to them. Too often the collective requires that we shed parts of ourselves, including our culture, community, and identity, to be seen and respected. Overlooking that much of our identity, and therefore abilities, are made up of our own unique cultural experiences. 

Oral history is the collection and study of historical information about people, families, important events, and everyday life. It illuminates the environment, perceptions, and feelings of an individual by painting a verbal picture of one's life. Marginalized communities hold a wealth of information and knowledge that is often overlooked in comparison to the dominant culture. Counter-storytelling is a method used to tell the stories of those whose experiences are not often told. 

Historically minorities have been defined as “any group of people who, because of their physical or cultural characteristics, are singled out from the others in the society in which they live for differential and unequal treatment, and who therefore regard themselves as objects of collective discrimination.” (Sociologist Louis Wirth, 1945). This includes, but is not limited to, the elderly, the LGBTQIA+ community, gender minorities, BIPOC, neurodivergent, disabled people, religious minorities, and more. Those who do not find themselves personally aligning with these groups are still welcome to share their stories of resilience and survival. This is a space for anyone who feels a need for their stories and/or culture to be shared. 

The wealth of information and knowledge that marginalized communities have is something that should be celebrated as well as formally acknowledged. At Rebecca Crown Library we believe that it is important to put power back into the people’s hands. 

Work Cited

Cultural integrity - Manitoba Arts Council. (2020, November 26). Manitoba Arts Council.https://artscouncil.mb.ca/grants/resources/cultural-integrity/#:~:text=Cultural%20integrity%20is%20the%20practice,a%20particular%20culture%20or%20community.

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04/17/2024
Joseph Moore
No Subjects

Librarians are always thinking about how to best utilize their houses of learning. How can the layout be maximized to benefit patrons and staff? Libraries are always balancing what is best for their stakeholders in the present with what will set them up for success in the future. In short, how will they remain relevant to students and the public?

When it comes to libraries stepping into the future, there are two establishments that offer good examples. One is the Hunt Library at N.C. State University in Raleigh, North Carolina, which features a bookBot as a means for repurposing space and preserving books. In Denmark, Dokk1 houses library resources in the same building that offers citizens services and their national TV.

Books: Out of Sight, Out of Mind?

The term "bookBot" makes me think of an android librarian out of an Asimov novel. Thankfully, that's not what's going on at Hunt Library, one of two University libraries at N.C. State University. Most of their printed collection is stored in over 18,000 bins with each bin holding 125-150 books. A huge benefit of this storage method is that it takes up one-ninth the space. The books are also saved from the erosive effects of dust, gravity, and sunlight. 

To retrieve a book from the catalog, a patron first requests the item from the library website (similar to how we request holds here at Dominican). Then the bookBot, which looks like a tall crane on wheels with a small ledge, is activated. The bookBot brings a bin containing the requested item to a workstation.

 

How the bookBot Works || NC State University Libraries from NC State University Libraries on Vimeo.

At the workstation, a human staff member finds the requested item and brings it to the hold shelf. After email confirmation, the patron can check out the book at the circulation desk. I was surprised to find that there is still significant human involvement in the process. While the bookBot performs most of the leg-work, the patron still receives face-to-face service.

I was able to visit Hunt Library on Spring break, and while it did take some getting used to the lack of book visibility while touring the space, it was interesting to see how the saved space was utilized. There was much more space for students to socialize and collaborate. However, there are still some collections available to browse, such as the Rain Garden Reading Lounge containing faculty publications and the The Quiet Reading Room which has recently printed STEM resources.

A Monument to Learning

As the largest library in Scandinavia, Dokk1 was built as a statement on the future of community learning in 2015. The Dokk1 website describes the structure as "a public space that functions as a culture house...Dokk1 provides a space for communities, contemplation, learning, and play."

https://www.dokk1.dk/englishThe four-story structure consists largely of transparent glass which allows for a beautiful view of the Aarhus waterfront. Two levels contain collections of printed and digital media resources, exhibitions, a cafe, and a section for children. Two event halls, one large and one small, are used for lectures, small concerts, and film screenings. There are also study spaces, reading areas, and public computers. 

Dokk1 has its own version of a bookBot to sort books returned to the library. This integration of AI into library circulation is becoming more popular in modern libraries, especially ones with highly circulating collections.

There are forward-thinking design aspects of Dokk1 that go beyond AI integration. The library is built to be enjoyed by people of all ages. The features of Dokk1 evolves with what its patrons wish it to be. Part of an effort to re-purpose former industrial areas, the library is a monument to learning, creativity, and sustainability. 

The Future of Libraries

As learning centers, libraries have an important role to fill as places that provide education for a changing society. The role of information-bearers will always be an important one, as writers of science fiction have often pointed out.

As someone who loves cataloging library materials, I find it fascinating that the Hunt Library bookBot accesses books in bins organized by size rather than call number. If this is the future of book storage, will we soon no longer need Library Congress call numbers or the Dewey Decimal System? How long do we have until the information in books is completely divorced from a physical item?

We will always have information, and we will always need people to sort and access it. Personally, I will miss physical books when they are gone. I like to hold a work while I read it. I enjoy browsing the physical stacks, taking fifteen books off the shelf, then checking out five of them. I like taking the books home so I can spend time with them for several weeks. And then I am always glad to have to return them so that I have a reason to go back to my favorite place.


Further Reading:

DeMarco, N. (2023). The future of libraries. Bookriothttps://bookriot.com/the-future-of-libraries/

Dorner, D., Campbell-Meier, J, & Set, Iva. (2017). Making sense of the future of libraries. IFLA, 43(4), 321-334. https://doi.org/10.1177/0340035217727554

Duxfield, A., & Liew, C.L. (2023). Libraries in contemporary science fiction novels: uncertain futures or embedded in the fabric of society? Journal of Documentation, 79(3), 546-566. https://doi.org/10.1108/JD-05-2022-0097

Guran, P. (Ed.). (2017). Ex Libris: Stories of Librarians, Libraries & Lore. Prime Books.

Knudsen, M. (2019). Curse of the Evil Librarian. Candlewick Press.

Morgenstern, E. (2019). The Starless Sea. Doubleday.

Perez-Reverte, A. (2022). El club dumas / The Club Dumas. Harcourt.

Sci-Fi-brarian. (2016, February 27). Representations of Libraries and Librarians in Popular Culture, Particularly Science Fiction and Fantasy. The Sci-Fi-Brarianscifibrarian.com/2016/02/27/representations-of-libraries-and-librarians-in-popular-culture-particularly-science-fiction-and-fantasy/

Tavosanis, M. (2017). Libraries, linguistics, and artificial intelligence: J.C.R. Licklider and the libraries of the future. IJLIS, 8(2), 137-147. http://dx.doi.org/10.4403/jlis.it-12271

 

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04/15/2024
profile-icon Ben DeBiasio

This is part 2 of a series on Practical Metaliteracy Tips for Library Instruction Programs. Please see my previous post where I introduced the metaliteracy model and began discussing practical ways that instruction programs can begin incorporating the principles of metaliteracy into their programs.

 

Metaliteracy and Source Evaluation

Evaluating online information is an essential skill for anyone who uses a cell phone to interact with the world. Librarians - and teachers of all ages - assume that because the majority of college students are digital natives, they have the skills and dispositions to be savvy internet users. As Kirschner and De Bruyckere (2017) remind us, teachers must "avoid the pitfall of assuming that their students possess talents and abilities that they do not actually have" (p.137).  Add to this assumption the fact that many library instruction programs rely on dated information evaluation techniques and frameworks (Ziv & Bene, 2022). This has created a situation where students are given analog tools for a digital world. Caulfield and Wineburg (2023, p.8) note that "print-based conceptions of critical thinking don't cut it. Skillfully navigating the internet requires conceptions of critical thinking tailored to a digital environment." The key here is metacognition and the context of the self.

Metacognition is an essential part of what separates metaliteracy from information literacy or technology literacy. "While metacognitive reflection is included in the ACRL Framework, it is not as pronounced or integral to that model as it is in metaliteracy" (Mackey & Jacobson, 2022, p. 36). A more nuanced understanding of the information environment requires students to not only consider their thoughts and feelings as they interact with information but also see themselves as active producers of knowledge. Caulfield & Wineburg (2023) emphasize this in their S.I.F.T. Model for online verification - they acknowledge this metacognitive self-awareness to be an essential first step in evaluating online information (p.12). This brings us to our Practical Metaliteracy Tip for Library Instruction Programs....

 

Super Practical Metaliteracy Tip you can start using tomorrow:

Encourage students to consider the three contexts of online information: the context of self, the context of the source, and the context of the claim. As students are required to think about the limits of their own expertise, as well as acknowledge their own emotional/physiological reactions to new/unknow information, they will begin developing metacognitive skills that are essential for navigating the digital world. Mackey (2022) reiterates that this "self-directed approach to the synthesis, evaluation and assessment of learning is integral to the metaliteracy model," and an essential component of creating metaliterate learners and citizens. Giving students time to reflect on their own reactions/feelings to sources, while also teaching them to note these reactions is an important part of modern source evaluation can be very useful. Students need to understand that they are an integral part of the information environment - and need to be able to think metacognitively about the research/evaluation process.

 

Works Cited: 

Caulfield, M., & Wineburg, S. S. (2023). Verified: How to think straight, get duped less, and make better decisions about what to believe online. The University of Chicago Press.

Kirschner, P. A., & De Bruyckere, P. (2017). The myths of the digital native and the multitasker. Teaching and Teacher Education, 67, 135–142. https://doi.org/10.1016/j.tate.2017.06.001

Mackey, T. P. (2022). Metaliteracy in a connected world: Developing learners as producers. ALA Neal-Schuman.

SIFT (The Four Moves). (2019, June 19). Hapgood. https://hapgood.us/2019/06/19/sift-the-four-moves/

Ziv, N., & Bene, E. (2022). Preparing College Students for a Digital Age: A Survey of Instructional Approaches to Spotting Misinformation | Ziv | College & Research Libraries. https://doi.org/10.5860/crl.83.6.905

 

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04/03/2024
Mary Laffey
No Subjects

It is a truth universally acknowledged that no one really likes poetry. The reasons are sound: poetry is hard to comprehend, it’s elitist, it’s kinda emo, and no one really tells you why it’s important, just that it is. Poetry isn’t taught well either, since we recycle the same darn Robert Frost poem over and over, and don’t explain how poems read differently than books. As a result, most people end up feeling ashamed that they didn’t understand the poem and, as a natural response, resolve to hate it. When “I got to the end and I didn’t get it” is the number one response from most students - isn’t that a sign that we need to change things?

I used to despite poetry in the same way people hate sushi - declaring it loudly and without concern for what other people thought. My teachers praised its complexity and nuanced meaning while I just stared uncomprehendingly at the words, willing them to try and talk to me. It wasn’t until college, when I had a truly wonderful Professor who taught us how to read poetry correctly, that I truly started to understand, and worse, like it. She said, “A poem is like a wounded animal. It’s wary of you, and it takes time for you to gain its trust. Only when you’ve spent a solid couple of minutes cooing at it will it dare to lick your hand.” A weird analogy to use, yes? But it’s true! Of all the “tips” to reading poetry that she taught me, these three are the most helpful. 

1. Words Matter

Unlike books, where you can whip through a sentence in a mere second, poetry takes a lot longer to understand because each word has been carefully chosen for a reason. Because the writer has less space to express themselves, they have to really choose their words wisely, which means every word in a poem matters. As a result, poems should be read slowly and repeatedly in order for students to really gain a healthy understanding.

2. Everyone Reads Poetry Differently

Oftentimes, poems tackle extremely complex ideas and images, leading everyone to gain something different from the overall message. There is no “right” way to interpret a poem, since everyone’s experience with it is different, and so there is never one concrete answer to what a poem means. Especially if you don’t understand a poem, that doesn’t reflect on your intelligence, but rather your empathic abilities. Rebeca Roach states that “In order to “do” poetry, we must remain open, vulnerable, and willing” to interpret and to feel. 

3. Poems Use Images

When you’re reading a story, there might be a line like this: She wiped at her eyes, smearing her makeup and trying hard to smile through the pain

But in a poem, to convey the same feeling, it might look more like this: Grimacing through black streaks of protection, she tries

Both sentences convey that this woman is upset and trying to be brave, but the poem describes a specific image of her makeup, not her action, which conveys just as much as the sentence. Paying attention to word choice, being open to interpretation, and focusing on specific images can make reading poetry a lot less painful as you’re reaching your hand out for understanding.

Links:

Poetry Foundation

Literature Criticism Online

Poetry Journal (Online)

Literary Hub

The 32 Most Iconic Poems in the English Language

A Library Poem, by yours truly:

Liber

I am old made new

with the same text,

just in different formations

 

made with a bumpy

spine and inkiness

spilling into minds

 

thick and thin,

worn and crisp,

immobile and flexible.

 

I can break your

ignorance and shatter

your hate

 

or pry open your heart

with a simple line

of dialogue

 

spill me and I flutter

drop me and I slam

burn me and you admit

 

in my power to unite

peoples. my three fates are:

collect dust, become dust,

or be dusted.

 

References:

Roach, Rebecca. “Six Reasons Why People Hate Poetry.” Medium, Trubadour, 16 Apr. 2017, https://medium.com/trubadour-for-poems/6-reasons-why-people-hate-poetry-6155a24be599 

Staff, Harriet. “The Troublesome Debate Around Poetry’s ‘Inherent’ Elitism.” Poetry Foundation, 2015, https://www.poetryfoundation.org/harriet-books/2015/10/the-troublesome-debate-around-poetrys-inherent-elitism 

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