Degree Project with Specialization in English and
Swedish Studies in Education
15 Credits/högskolepoäng, Advanced Level
Wordless picturebooks – in practice and
theory
Ordlösa bilderböcker – i praktiken och teorin
Erica Kozma
Louise Hultgren
Degree: Bachelor of Science in Primary Education, 240 credits
Date for the Opposition Seminar: 23rd of April 2018
Examiner: Shannon Sauro Supervisor: Björn Sundmark
DEPARTMENT OF CULTURE, LANGUAGES AND MEDIA
Preface
This study is completed based on the goals and guidelines of the course Advanced Level Degree Project (LL701G) in the Major Subject at Malmö University. Even though we, the authors, have two different major subjects, the degree project is written in relation to both Swedish and English as major subjects. Hereby, we declare that we have been equally involved during the creation of this degree project. We have had shared responsibility throughout the working process. We have planned, conducted and completed every part of this degree project together. Nothing has been done without the other.
We hereby confirm that what is mention above is accurate.
Erica Kozma Louise Hultgren
We want to give our thanks to Deboarh Soria and IBBY Italy who made it possible for us to take part in the sixth IBBY camp, located on the island of Lampedusa. Moreover, we would also like to thank our supervisor Björn Sundmark and all the involved people we have met on the journey of the creation of this report, who has inspired and contributed to this degree project.
Abstract
In the year of 2015, 35.000 refugee children arrived to Sweden. In Sweden education is a matter of right, every child has the right to attend school no matter if s/he is a citizen or a refugee. According to the Swedish Curriculum for Compulsory school, all teaching should be adapted to the individual student’s circumstances and needs. The aim of this degree project is to investigate how wordless picturebooks (Silent Books) could be used as a language learning tool in order to promote language acquisition among newly arrived children in Sweden. Firstly, this paper provides an overview of background knowledge, theories and concepts about wordless picturebooks and second language learning. The literature review indicates that the content of the books and the social context is important while learning a language. It also shows that picturebooks can be used in order to grow a cultural understanding among young learners with different cultural backgrounds. In the empirical study we employed semi-structured interviews with people from Sweden, Italy and England. We also carried out field research on Lampedusa, Italy, which included observations and interviews. The major conclusions of this study are that Silent Books is one tool of many, which could be used while learning a language. Silent Books is particular good since it lets the student base her/his language learning in one’s earlier knowledge and experiences as well as language level. The pictures are the starting point, and the learning process starts with what you see in the picture.
Keywords: IBBY, picturebooks, refugee children, second language learning, Silent Books
Table of Content
1. Introduction ... 5
2. Aim and research questions ... 8
3. Background... 9
3.1 The refugee crisis ... 9
3.2 IBBY ... 9
3.2.1 Silent Books ... 10
3.2.2 Purpose of the Lampedusa Camps ... 11
4. Theoretical perspective ... 12
4.1 Sociocultural perspective... 12
4.2 Second language learner ... 12
4.2.1 Second language learning ... 13
4.3 Reading ... 14 4.3.1 Read-aloud ... 14 4.4 Picturebooks ... 14 4.4.1 Picturebooks in education ... 15 4.5 Iconotext ... 17 4.6 Wordless picturebooks ... 17 5. Methodology ... 19 5.1 Ethical considerations ... 19 5.2 Participants ... 20
5.3 Field trip to Lampedusa ... 21
5.4 Semi-structured interviews ... 22
5.5 Procedure for the interviews ... 23
5.6 Observations ... 24
5.7 Procedure for the observations ... 24
5.8 Analysis of the data ... 25
6. Results and discussion ... 26
6.1 How Silent Books are used ... 26
6.2 Benefits and challenges ... 28
6.3 Silent Books as a language learning tool ... 32
6.4 Discussion ... 33
7. Conclusion ... 37
7.1 Further research ... 37
1. Introduction
According to the Convention of the Rights of the Child (CRC), every child has the right to a primary education (UNICEF, 2009). Despite that, UNICEF (2017) states that millions of children do not get the opportunity to attend school since they are fleeing from their homes. At the same time, governments and organizations struggle to provide education to deprived children. In the year of 2015, Sweden received approximately 35.000 refugee children (Migrationsverket, 2017).
Education is something that should be accessible for everyone (UNICEF, 2009). In Sweden education is recognized as a fundamental right no matter if the child is a citizen or newly arrived (Migrationsverket, 2013). According to the Swedish Curriculum for compulsory school (Skolverket [Swedish Board of Education], 2011, p. 10) “teaching should be adapted to each student’s circumstances and needs”. The pressure on the Swedish schools is therefore growing, since schools need to provide a fair education for all children. This goal is hard to reach with regard to all children if some of them are unable to keep up with the teaching due to the language problems. The barriers between Swedish and non-Swedish children becomes therefore a fact, since many of the newly arrived have no working knowledge of neither Swedish nor English, and we experience that teachers have not had enough time to help these students; nor do they have the appropriate education to prepare for this fast growing situation.
At our partner schools, we have witnessed different ways of working with newly arrived children during our practicum periods. Regardless of approach, however, language instruction is crucial. Of the many methods we have encountered when looking into this more closely, we became particularly interested in the use of “wordless picturebooks” as a language learning tool. For that reason we decided to investigate both how the so called collection of “Silent Books” was developed on the island of Lampedusa, and later in Sweden. Silent Books is a project launched by the organization International Board on Books for Young People (IBBY) due to the waves of refugees from Africa and the Middle East arriving on the Italian island, Lampedusa. The main part of the project was to create a library and develop a collection of Silent Books that could be understand by children
regardless the language. It was a collection of books from twenty countries (IBBY, 2017b).
More precisely, we wanted to investigate how pedagogues use Silent Books among children both in Sweden and on the island of Lampedusa. Lampedusa was an obvious choice since it was there it all started, and we felt that putting the work on Lampedusa in contrast to how it is used in Sweden would provide an interesting perspective. Lastly, we would like to open up for a discussion about what implications Silent Books could have in Swedish schools. As mentioned above, children with different languages come to Lampedusa due to uncertain conditions in their home countries, hence the need for stories without words. Due to the broad variety of picturebooks from different countries, children get the possibility to encounter a diversity of cultures. Today, the Silent Books resource is to be found in other countries than in Italy, for instance, in Sweden, France and Canada.
Children's literature is a powerful tool for understanding the world (Diakiw, 1990). Diakiw (1990) argues that young children find it easier to process new information when it is presented within the structure of a story. He also claims that stories can be a powerful way to transport students to unfamiliar countries with cultures far away from their own. Callow (2017) also highlights the importance of bringing global children’s literature into the classroom, since it will help them develop empathy and a social conscience. Moreover, he states that reading stories through visual images or texts with a global perspective will help children to develop a critical thinking, where they will be able to put their own culture in contrast to others and vice versa. Likewise Callow (2017), Hughes (2010) argues that critical thinking may emerge during the cognitive process which occur when you read. Furthermore, she stresses the linguistic benefits, which the reader gains from stories and picturebooks in forms of a greater vocabulary and an enhanced ability to listen and think. This goes hand in hand with what the Syllabus for English and Swedish (Skolverket, 2011) mention;
In order to deal with spoken language and texts, pupils should be given the opportunity to develop their skills in relating content to their own experiences, living conditions and interests. Teaching should also provide pupils with
living conditions, as well as social and cultural phenomena[...] (Skolverket, 2011. p, 32).
And,
In teaching, pupils should meet and acquire knowledge about literature from different periods and different parts of the world. [...]. When encountering different types of texts, performing arts and other aesthetic narratives, pupils should be given the preconditions to develop their language, their own identity and their understanding of the surrounding world (Skolverket, 2011. p, 211).
2. Aim and research questions
The main purpose of this degree project is to investigate how Silent Books can be used in different reading contexts. Firstly, we would like to investigate how pedagogues, such as librarians or teachers, use Silent Books (wordless picturebooks) in reading groups. Secondly, we would like to highlight possible benefits and challenges which can occur during the use of Silent Books according to some of the pedagogues. Lastly, we would like to discuss how it could be applicable as a tool/teaching technique in Swedish schools.
This leads us to the following research questions:
1. How do some pedagogues in Sweden and Lampedusa use Silent Books in reading groups?
2. What are the benefits and challenges of using Silent Books according to some pedagogues?
3. What are some possible implications of Silent Books for language teaching in Sweden?
3. Background
In the following section, we will present general background information concerning the refugee crisis, information on the organization IBBY, how the idea of Silent Books was formed, and the purpose of the Lampedusa camps.
3.1 The refugee crisis
Due to war and increased conflicts in the world, especially Africa and the Middle east, the migration to Europe has increased heavily. People escaped from their home countries to get away from conflicts, terror, persecution and poverty. Migration and escape to Europe across the Mediterranean is not something new, it has been going on for years. However, during 2015 the number of refugees increased rapidly due to the growing conflicts around the world, and especially in the Middle East (UNHCR, 2018). According to the United Nation High Commissioner for Refugees (UNHCR) (2018), approximately one million people escaped to Europe via the Mediterranean Sea in the year of 2015. As the number of refugees increased in Europe, the reception of refugees also increased in Sweden. Since the year of 2015 hundreds of thousands of people have arrived to Sweden; approximately 215.000 have applied for asylum (Migrationsverket, 2017).
3.2 IBBY
According to the information on the home page, IBBY is a non-profit organization founded in Switzerland, which represents an international network of people from all over the world who are committed to bringing books and children together” (IBBY, 2017a). The organization, moreover, has an overall mission to promote and ensure children with books that have a high literature and artistic standard as well as, to protect and uphold the rights of the child. IBBY believes that every child has the right to become a reader. In order to become a reader in the fullest sense every child must have access to books. IBBY sees this as a fundamental right since it will for example help children to think critically, participate actively in society, understand the world as well as know him or herself, and
know others (IBBY, 2017c). IBBY is active worldwide and have international partners all over the world, such as in Sweden, Canada, France etc. IBBY was founded in 1953 by a woman called Jella Lepman. In the early 30s, she escaped Nazi Germany and moved to London. She worked for the Foreign Office and the BBC during World War II. In 1941, she started to work for the American Broadcasting Station in Europe, which lead to her engagement as an advisor for questions relating to children and young people at the American headquarters in post-war Germany. Furthermore, after World War II she and other individuals actively engaged in the field of children’s literature. Later on, the importance of children’s books as a means in promoting international understanding and peace was made visible. Children everywhere should have access to books with high literary and artistic standards and thus become enthusiastic and informed readers(IBBY, 2017a).. Worth mentioning is that Jella Lepman, with help from Rockefeller Foundation, established the first international Youth Library in Munich in 1949 (IBBY, 2017a). In 1952 she also organized a meeting called International Understanding through Children’s Books and the meeting involved many important people within the field. The result was the foundation of IBBY.
IBBY is also active in Sweden as IBBY Sweden. Their expectations are that the literature will contribute and enhance the communication and language development for all the involved children and adolescents, as well as contribute to a colorful life among children, youths and adults (Lindfors, 2016).
3.2.1 Silent Books
The project “Silent Books, from the world Lampedusa and back” is an IBBY-project launched in 2012 in response to the refugees from Africa and the Middle East arriving to the Italian island Lampedusa (IBBY Italia, 2013). The project involved creating the first library on Lampedusa to be used by local and immigrant children. The second part of the project was to create a collection of Silent Books (wordless picturebooks) that could be understood and enjoyed by the children of Lampedusa and the migrants arriving to the island, regardless of language. One of the reasons why wordless picturebooks were chosen, was due to the growing global migration (IBBY Italia, 2013). IBBY Italia (2013) argues that the narrative power of images can create stories that cross cultural and
linguistic barriers. Moreover, they state that wordless picturebooks can give every child a chance to enjoy books and the stories that they tell (IBBY Italia, 2013). It is also important to highlight that the creation of these books are in consideration to the United Nations Convention on the Rights of the Child, who states that all children have the right to some kind of education (IBBY, 2017b). Since the startup on Lampedusa 2012, Silent Books has been very successful and has been employed all over the world via IBBY. It has been particular successful since everyone can enjoy the books no matter what language they speak. The wordless picturebooks within the frame of Silent Books reach out to people from all cultures and is therefore a successful way to meet across cultural boundaries and to work on diversity, understanding and inclusion (Lindfors, 2016).
3.2.2 Purpose of the Lampedusa Camps
Since the opening of the children’s library on the Italian island of Lampedusa, six IBBY camps have been organized. The purpose of the first camp was to start up the library, organize reading workshops and basically let the children explore the world of books found there. The five latter camps have taken place with the same spirit, and has led to the organization of workshops and reading activities in the school and on the streets of Lampedusa. The camps are organized by IBBY Italia, most often coordinated by Deborah Soria. Alongside with Ms. Soria, volunteers travel to Lampedusa with the purpose of helping and encouraging children to become a literate (IBBY Italia, 2013).
4. Theoretical perspective
In this following section, we will mention and discuss what theoretical perspective our degree project relies on and why. Furthermore, we will also explain and define concepts and theories which are crucial to know in order to understand the degree project. We will mention concepts about languages, second language learner, second language learning, reading, read-aloud, picturebooks, picturebooks in education, iconotext and wordless picturebooks as a concept.
4.1 Sociocultural perspective
Since the sociocultural perspective has had an impact on the field of second language learning, it felt natural to us to ground our degree project on the sociocultural perspective since it covers just language learning. A sociocultural perspective in this context is the collection of theories that are founded by Vygotsky (1978, 1986). The ideas behind his theories are that learning takes place in a social context and not individually. Every individual is constantly located between development and change, where she has the possibility to encounter new knowledge in interaction with her fellow humans. The human being is under a constant change where s/he learn new things in relation to her/his already existing knowledge. Within the sociocultural perspective, the zone of proximal development has come to be known as a tension between what the individual already can do on her own and the new things she can do and learn with support of a more knowledgeable person (Säljö, 2010).
4.2 Second language learner
Language is the primary tool human beings use for thinking, communicating and learning (Skolverket, 2011). According to Gibbons (2013), languages are learned when a person is surrounded by it. Furthermore, she states that languages are learned in a social context through interactions with others. People exchange both personal and cultural knowledge depending on their lived experiences. In addition to this, she claims that having cultural
understanding about the country whose language you are supposed to learn, will contribute and support the learning process.
A second language learner is a person which is learning a language different from their mother tongue. For instance, a person with a foreign background or people who migrate to a country with a mother tongue different from their own fall under the category, second language learner. It is important to emphasize that a person who speak two languages, can be as competent in their second language as in their first (Pesonen, 2016).
4.2.1 Second language learning
According to researchers Richards and Burns (2012), a second language is learned when the students are motivated towards learning and are engaged in interaction and meaningful communication. Thus language is learnt when the environment feels safe and invites communication and interaction with others. More or less, regardless of first language, a new language is learned when the student is surrounded by the language and hear it in an everyday situation, rather than just in a school context. In order to get motivated towards learning a new language, the content must be familiar and close to the interest and experiences of the student. Gibbons (2015), Lightbown and Spada (2013), Mitchell and Myles (2004) and Richard and Burns (2012), agree that scaffolding is necessary to help and to guide the student in the right direction of learning. For instance, scaffolding is a supportive structure that help students make the most of their already existing knowledge and also to acquire new knowledge (Lightbown & Spada, 2013). As well as scaffolding is necessary in order to understand, learn and enjoy a new language, the usage of the student’s first language is also of great importance when learning a language. Gibbons (2015) conclude, with help from other researchers, that the relationship between the first and the subsequent language matters. When learning a new language, a cognitive process occurs. Students use their already existing linguistic and cultural knowledge as help when interpreting, reading and writing in a new language. It has been shown that the stronger a second language learner is in their first language, the more likely it is that they will become successful in their second language (Gibbons, 2015). To have in-depth knowledge of one’s own language and culture, will help the child to relate and understand, and not least put their own language and origin in comparison to the culture and language
s/he is about to encounter (Gibbons, 2015; Lightbown and Spada, 2013; Richard and Burns, 2012).
4.3 Reading
Reading is an important part of knowing a language, since it is necessary in order to be able to function in the everyday life. When reading different types of texts, the reader connects the text with their prior knowledge, for instance knowledge about the world, cultural knowledge or knowledge about different text structures (Gibbons, 2013). Therefore, prior knowledge about certain things, such as cultural knowledge, may be advantageous when you read certain books. According to Cameron (2001), a critical process occurs in your brain when you read. One part of your brain analyzes the word’s meaning, while another part makes it possible to automatically recognize the word. This process, helps the reader to interpret, understand and recognize different types of texts. Readers will understand texts that they read by constructing a meaning for themselves as well as linking it to previous knowledge (Cameron, 2001).
4.3.1 Read-aloud
Through reading books or picturebooks aloud for a student/group of students, the students get a chance to interpret and analyze the pictures at the same time as s/he are listening. Hughes (2010) highlights the fact that students get the possibility to link words together with pictures or illustrations, which can help them build their vocabulary. Furthermore, she states that reading aloud together with others also gives the students a chance to discuss and interpret the content together, which can result in an enhanced understanding of the book.
4.4 Picturebooks
According to Birketveit and Rimmereide (2017), pictures now and originally can be regarded as a form of language. The written word grew out of pictures, originally, and pictures can be interpreted as a form of written language. Symbols such as pictures or
drawings allow direct access to meaning, whereas writing and written words requires a more complex process of decoding (Birketveit & Rimmereide, 2017).
Strasser and Seplocha (2007) have identified the picturebook as a book where there is an overload of pictures and little text. At the same time, the pictures and the text complement each other. There exists a balance between the pictures and the text, and neither of them would function without the other. We find support in Owens and Nowell (2001), who argue the same thing as Strasser and Seplocha (2007), that the picturebooks is a book where the pictures are dominant with little or no text. There is also a correspondence in that picturebooks are written in a style that is simple and straightforward where the illustrations complete the text (Owens & Nowell, 2001; Strasser & Seplocha (2007). Moreover, Strasser and Seplocha (2007) briefly emphasizes that a picturebook contains at least three elements: what is told with words, what is told through the pictures, and what is conveyed through the combination of the two. They also stress the importance of the child’s own experiences and its own personal association with what is happening in the book. Besides that, Birketveit and Rimmereide (2017) state that a given text is always already coded; it already has a meaning, and the reader’s has to decode it. With pictures, on the other hand, the meaning is not given. Instead, the reader is given space to interpret and analyze the pictures on its own, according to one’s own experiences (Birketveit & Rimmeredie (2017). Picturebooks are common in children's literature and can in many ways also be seen as educational (Nodelman, 1988). For instance, pictures can help children learn new words by relating pictures to words. It is also apparent that children are delighted with pictures and its colors. Even though picturebooks are particularly common with younger children, they appeal to older children as well. This makes them suited as a tool for second language learning. Birketveit and Rimmereide (2017) conclude that pictures function as support while reading and decoding different texts. Even if the reader does not understand any or all of the words, the pictures help them to create an overall understanding of the text.
4.4.1 Picturebooks in education
According to Diakiw (1990), children’s literature is a powerful tool for understanding the world. As mentioned above, picturebooks are not only functional as a support for an
enhanced understanding when reading books which have both pictures and texts. A picturebook may invite the reader to an instant personal engagement or to invite intercultural reflection. The design can invite the reader to lift flaps, look into mirrors, touch various parts of the book or just enjoy the pictures (Lugossy, 2012). Content which addresses certain difficulties in the world may invite the reader to a cultural otherness or a world far away from one’s own. For instance, picturebooks, particular about the refugee situation, used as a tool in the classroom can make children feel less alone, or rather that they are not alone facing experiences like their own (Hope, 2008). Furthermore Hope (2008) argues that picturebooks are not only good for processing one’s own experiences, it is also a powerful medium for newly arrived peers to gain an increased understanding over the situation which they have gone through. Furthermore, Hope (2008) states that through picturebooks, readers can visit geographical and historical locations far away from their own. This can help them to develop tolerance and understanding, as well as clarifying their own cultural identity (Hope, 2008). We find support for this idea in Callow (2017), who states that this kind of children’s literature in the classroom will help children to develop empathy and a social conscience. Furthermore, Callow (2017) argues that reading stories through visual images or text with a global perspective will help children to develop critical thinking, and enable them to contrast their own culture to that of others, and vice versa. Oranç and Alaca Veryeri (2017), agree that storytelling through picturebooks has an educational value. The children can read and interpret texts together, through body language and pointing at pictures even though the oral language may be a barrier. When children read picturebooks and share one’s own and others experiences, storytelling contributes to developing the literacy skills of newly arrived children. Storytelling through picturebooks not only has educational value, it also provides psychological support by giving the reader a chance to shut off the outside world and disappear into the world of fantasy (Oranç & Alaca Veryeri, 2017). Furthermore, Lindfors (2016) claims that picturebooks, or books without text are particularly rich in their visual language, a language that everyone has access to regardless what language they may speak. This visual language makes it possible for people to dream and imagine.
4.5 Iconotext
The iconotext concept describes the synthesis, or the relationship between pictures (the visual) and texts (the verbal), in picturebooks. According to iconotext theory, the relationship within iconotext can be expressed in three ways (Sundmark, 2017):
• Correspondence (the images can illustrate the verbal text)
• Complementarity (the image can complement the verbal text)
• Contradiction (the image can contradict the verbal text)
This is crucial to know since a reader need to be able to decode and understand how pictures and texts/words relate to and influence each other (Sundmark, 2017). Although there may be no text in a picturebook, the concept can still be used. In such cases, the iconotext will symbolize the relation between the pictures and what is being said about it. There will still be a correspondence if the reader talks about her/his own experiences based on what s/he sees in the picture. The picture can also function as a complement to the story, and if the reader tells a story about her/his own experiences, the picture may make it more alive due to the illustrations.
4.6 Wordless picturebooks
Wordless picturebooks is the term which IBBY use when clarifying what Silent Books are (IBBY, 2017b). Even though Silent Books are described as a collection of wordless picturebooks, we would like to highlight the importance of the name-choice/translation when you are creating a project like Silent Books. Even though Silent Books are everything but silent, it may be understood like that due to the name. To compare the English name ‘Silent Books’ with the Italian ‘Libri Senza Parole’ which is translated to ‘books without words’, the latter describes more precisely what it actually is. However, the name Silent Books is well established and is connected to a specific project, which is why we use it, despite its shortcomings, when talking about the books in the project.
All in all, current research shows that picturebooks can lead to the development of cultural understanding, and personal development (Callow, 2017; Diakiw 1990; Hope, 2008; Hughes 2010). Birketveit and Rimmereide, also highlight the fact that picturebooks can facilitate second language learning through its combination of verbal and visual materials.
With this as our point of departure, we now proceed by examining how two Swedish pedagogues have made use of the Silent Books-material. After that we will move on to the results of our observations and interviews during our field research on the island of Lampedusa.
5. Methodology
In the following section, we will describe our methodological approach and give information about how our investigation has been carried out, and how it was put into practice. As we have already stated, the aim of this degree project is explorative, and it partly relies on our field research. Our main focus is to document and analyze how Silent Books is used as a language learning tool in practice in Sweden and in Lampedusa. Since the aim is explorative, a qualitative study design has been used. This kind of method is suitable when you want to know and learn about people’s experiences. In this particular degree project semi-structured interviews and observations have been used to collect the data (Bryman, 2011).
5.1 Ethical considerations
According to Vetenskapsrådet (2002) when conducting research, different research ethical guidelines should be taken into consideration. There are four main requirements which should be included: the information requirement, the consent requirement, the confidentiality requirement, and the requirement of usage.
The participants were informed that their participation in the project is voluntary and that they had the right to drop off at any time, as well as that the implementation would not be carried out without an agreement. The involved participants were also informed that the material is confidential and will only be used in this thesis. Lastly, the participants in this project were informed that they had the rights to be anonymous. However some of the participants have agreed that we can use their names in this degree project. So, those who are mentioned by their real names are aware and have agreed on it. Information that is harmful to a private person will not be used either. Finally, the participants were informed that they will have access to the final report if interested (Vetenskapsrådet, 2002).
It is important to take into consideration that the result may differ depending on who is participating in the survey. Just because the educator believes the specific tool or pedagogical approach s/he is using functions well, the potential learner may not agree.
5.2 Participants
Silent Books as a concept has not yet spread nationally in Sweden, therefore it is not widely used. Because of this, it has been kind of a struggle to find participants to our interviews. We have not done a wide search over people who are working with Silent Books. Instead we chose to contact the people which occurred in our research about IBBY. In the end we came in contact with five people. Two of them are members in the organization IBBY Sweden, whereas two are teachers working with Silent Books, and the fifth one is active within IBBY Italy. Three out of the five contacted people agreed to do interviews. We also came in contact with one English speaking person during our stay in Lampedusa, who also agreed to an interview. Due to our lack of Italian, we only chose to interview the one person among the volunteers, who was a native English-speaker. The first person we interviewed is called Rose-Marie Lindfors. She has worked within the school world for approximately 25 years. Lindfors works with storytelling, drama and other activities where students are supposed to create and be creative. The last ten years, Lindfors has specialized on newly arrived children and are helping them to integrate in the Swedish society. She manages her own work and she helps out in different schools either on request or due to her own interest. Lindfors is also a member of the organization IBBY Sweden and have been for six to eight years. She is for instance one of the authors of the booklet that IBBY Sweden has produced. The booklet functions approximately as a guidebook and gives ideas about how to use Silent Books with children.
The second person we interviewed is called Malin Åbreg and she is an educated drama and Swedish teacher from year six up to high school. We came in contact with Åberg via Lindfors. Both of them have a background in storytelling and are thus colleagues. Today, Åberg is mostly active within adult education where she teaches second language learners in the Swedish language. Åberg first came in contact with Silent Books in 2014 and has
used the approach with adult second language learners in Swedish (SFI). The students she works with have varying knowledge of Swedish.
The third person we interviewed was Deborah Soria. She is active within IBBY Italia since many years. She is the coordinator of the camps which are organized on Lampedusa. Furthermore, together with IBBY Italia she is the creator of the project “Silent Books, from the world to Lampedusa and back”. Soria, alongside with IBBY Italia, decided that they wanted to open a library on the island. The library was dedicated to young islanders and to the refugees who arrive to the island.
Debbie Beeks was the final and fourth person we interviewed. She is an English woman who stayed on the island with the purpose of volunteering at the camp. She is a freelancer with a background in reading, drama and storytelling. Before Beeks became a freelancer, she worked at a place where she used storytelling, incorporated with drama, with children and adolescents in all ages. Beeks also trains teachers and parents in how they can read with their students and children for pleasure. She has worked with picturebooks for a long time, and come across Silent Books a few years ago. Beeks heard about these camps during a conference where she met Ms. Soria.
It is important to have in mind that the result can vary due to the person who is being interviewed. There are always two sides of something. Our respondents have talked from their own experiences and opinions which does not need to correspond with others experiences and opinions of Silent Books (Alvesson, 2011).
5.3 Field trip to Lampedusa
Via our supervisor Björn Sundmark, we came in contact with Ms. Soria. She invited us to participate in the sixth Lampedusa camp, which took part between the fifth and the tenth of March. We saw this as a valuable opportunity to witness the organization and the implementation of these camps. Obviously, it was a golden opportunity for us to observe how the work with Silent Books is carried out in the place where it once started, and implement interviews with for instance Ms. Soria and other people who were there to volunteer.
A field research was the most suitable option for us since we wanted to produce a degree project based on what we have experienced and interpreted. Even though we could have gathered material via, for example Skype interviews, we chose to travel to Lampedusa to get a more authentic result through mixed semi-structured interviews and observations. The main purpose of the trip to Lampedusa was to gather material through interviews and observations.
5.4 Semi-structured interviews
In our investigation, we have used semi-structured interviews to collect our data-material. Bryman (2011) states that through using semi-structured interviews, the respondents have a greater freedom when answering the questions. We have chosen to use five open-ended questions, followed by sub-question depending on the answers we will receive from the respondent. Through having open questions, it is easier for us as interviewers to be flexible and steer the conversation in the direction we want depending on the answers. As well as open questions will give us the opportunity to ask follow-up questions if we would like to know something more, or if we need clarification, it will also give the respondent time to reflect and express their thoughts about the questions which could lead to more thoughtful answers. Alvesson (2011) points out that even though some themes are supposed to be covered and some questions are supposed to be asked during a semi-structured interview, the interviewer can give the respondent the freedom to define and develop more relevant answers. Hence, it is okay to be flexible since it is possible to deviate from the actual subject when using a semi-structured model.
During our interviews, we have used five open questions designed in relation to our research questions. Even though the questions were adapted to the individual we were interviewing, they were designed in the same way so we could easily follow a pattern. According to Alvesson (2011) it is easier to sort, compare and analyze the gathered material if the interview questions follow a structure. The following five questions were then divided into three themes; 1, experiences with Silent Books; 2, faced benefits and challenges through using Silent Books, and; 3, their view on Silent Books as a language learning tool.
5.5 Procedure for the interviews
In order to get a wide perspective of how Silent Books is used, we chose to interview people who have worked with it both on Lampedusa, Italy and in Sweden. This gave us a wider picture on how Silent Books are actually used. Through interviews in Lampedusa, we were given an insight in how it is carried out where it all started, and through interviews in Sweden, we were given an insight in how the education with Silent Books is carried out here. It also gave us the chance to compare the results from Lampedusa and Sweden. The first two interviews were carried out in Sweden, through FaceTime. We found this solution the easiest due to the distance between us. The interviews were carried out in Swedish, since Swedish is our first language. Even though an interview in English would have been preferable and resulted in less work for us, Swedish felt more natural. Since we did a digital interview, where it is hard to take notes at the same time, both of the interviews were recorded. During the digital interviews completed in Sweden only one of the authors was involved in the actual interview, whereas the second author sat next to and took notes and handled the recording device. We chose to complete the digital interviews like that due to the sound quality and to be able to distinguish the voices more easily during the transcription. The two final interviews were carried out on Lampedusa, face to face. The interviews were held in English at the library where the camp was organized. In order to get the most out of the result, we recorded the interviews. During the interviews on Lampedusa both authors were equally involved, both asking questions and taking notes.
The participants’ permission for recording the interview was asked beforehand and agreed by everyone. The recording enabled us to listen to the interview again and to accurately transcribe them. If we were not to record the interviews, we could have missed valuable information for our result. It is hard to keep focused while taking notes at the same time as carrying out an interview. It is possible to seem distracted which is not a desirable behavior from a person who is supposed to function as a curious interviewer. We are aware of that a recorded interview may affect the respondents’ performance due to they are being just recorded, however that was nothing we experienced when we were carried through our interviews.
After each interview and the gathering of the material, we sat down to transcribe the material. The transcription was not to be read by anyone by us. We chose to transcribe the material so that we were given an overview of what has been said. While transcribing the material, we organized it based on our interview questions. From that, we created themes that resulted in three categories which you can find under five point four.
5.6 Observations
To further investigate our topic, we chose to complete our semi-structured interviews with observations. According to Bryman (2011), it is natural to combine qualitative interviews and observations in order to get a better result. In our case, the observations function as a complement to the interviews we have done on Lampedusa. Through interviews, the respondent are given the possibility to share thoughts, knowledge and experiences but through observations, we as researchers will be given a broader picture of the culture that is shown in the social context which we currently were a part of (Bryman, 2011). This in turn, will give us an opportunity to compare the result from the interviews with our own experiences from the observations. Additionally, we can draw conclusions based not only on someone else's word but also from what we actually have seen and experienced.
5.7 Procedure for the observations
Due to the lack of time writing our degree project, Bryman (2011) recommends micro-ethnography. A micro ethnography is a smaller version of an micro-ethnography. Bryman (2011) believes it is unlikely to conduct a full scale ethnography while writing a smaller project and due to the lack of time writing our degree project we chose to do a micro ethnography. This involves focusing on a particular aspect of topic while observing. To get the most out of our observations on Lampedusa, we chose to do a micro ethnography. More precisely, we solely observed how they worked with Silent Books in different reading groups for three days. Instead of focusing on surrounding factors we focused at things such as how the adults arranged the environment while reading to the kids, how they told the story, and how the children reacted and engaged in the story. By focusing
on these things we were able to visualize certain patterns while working with Silent Books. If we would have had more time writing this degree project, we would have focused on everything in the room for a longer time of period.
When there were reading sessions with the children, we chose to stay in the background so we easily could observe what was happening. We took up our position at the back of the room so we had a good view. We took notes in order to more easily remember what had happen during every session. Moreover, when there were no reading sessions in the library, we took a researcher-participant role, which mean that we participated in different situations, but were only semi-involved when needed, so we could take notes and function fully as a researcher (Bryman, 2011). All the impressions, feelings and experiences helped us to see and understand how they worked. In addition to the observations, we took photos and recorded videos, for which we had received prior permission, so we more easily could understand our notes and relive memories from our stay.
By taking part in this camp and socializing with other volunteers, we learnt a great deal. The idea behind the project and how you actually can use Silent Books as a reading tool, both pleasure and for learning emerged in conversation with other volunteers, where we talked about their work- and experiences of using Silent Books.
5.8 Analysis of the data
A structured approach was necessary in order to understand the data and to find relationships across the material. While listening to and reading the data, we attempted to create themes that corresponded to our overall analytical focus. These themes were created in relation to our research- and interview questions so it would be easier for us to find similarities and differences within the answers from our respondents. The themes resulted in three categories, after which we chose to present our result. Since our degree project is grounded the sociocultural perspective, we have analyzed the result from that perspective.
6. Results and discussion
This section presents, describes and analyzes the data collected through the semi-structured interviews and the observations from Lampedusa. We categorized the data under three subsections in relation to our aim and research questions: How some pedagogues in Sweden and on Lampedusa use Silent Books and what benefits and challenges they see by using Silent Books. The last subsection covers Books as a language learning tool. The results are analyzed one by one, and then brought up for general discussion.
6.1 How Silent Books are used
Silent Books is a collection of wordless picturebooks, which can be used in a huge variety of ways depending on the people you are supposed to teach and the expected outcome. The choice of book and how you plan to work with it are also factors determined by the people you are supposed to teach. According to our semi-structured interviews and observations on Lampedusa, we can conclude that Silent Books can be used with students across all ages, and that there is no right or wrong. Already after being on Lampedusa for only three days, we have discovered a number of different ways of working with Silent Books and other picturebooks which contains a little text. We have observed different sessions in the library. In the mornings most of the reading sessions were organized with children from the elementary school, whereas in the afternoon children came to the library due to their own will. Most of the reading sessions we have observed, occurred in smaller groups. The size of the groups varied due to the amount of children who were at the library. We observed various ways of working with Silent Books, however all of the reading sessions had one mutual denominator which was that the readers wanted to engage and involve the children in the reading. If there were an animal on the picture, the children screamed the name of the animal or imitated the sound of the animal. To us, it felt like the main purpose of the reading sessions was not to educate the children, more like letting the children have fun and enjoy the moment. Even though the main purpose was not didactic, we could conclude that the children did learn even if they were not conscious of being taught anything in particular. Even though the purpose of the reading
sessions we have observed was not to learn a language, the way the volunteers used the books, corresponded to what the people we have interviewed said. All the four people we have interviewed stated that they work with Silent Books in groups of various sizes, depending on the situation and expected outcome.
Soria, Beeks, Lindfors and Åberg are all people with various occupations where they use Silent Books in different contexts for different purposes. However they share the overall purpose and the positive outcome of reading wordless picturebooks. As mentioned above, Silent Books can be used in many different ways and Ms. Soria is an example of that.
The nice thing is that anybody can read it in any way they want, so you can decide how you want to read a silent book and do it. You can look at it, you can make a sound, you can play with it, or you can use gestures. You can create your own story and everybody can create a different story in it. (Soria, interview 5 March 2018)
This is a citation from the interview we did with Soria, where she describes that she reads Silent Books in many different ways, everything depends on the person who is listening. Soria states that it is an active way of reading instead of a passive way of reading. The reader can co-create a story with the reader, or create one of their own, as well as just sit down to absorb and process the pictures.
Beeks mostly uses Silent Books to promote creative writing through drama and not necessarily for second language learning. She mixes the reading of books with different drama activities depending on what outcome the teacher wants from her visit. Beeks always try to create an environment where the children feel safe and where there is no right or wrong. She wants to create a learning with divergent outcomes, straying from the teaching methods where the children learn convergent outcomes from the teacher. Beeks uses the book as a stimulus for other activities where she let the children take the lead and create a story together. As well as Beeks, Lindfors try to create an environment where the children feel safe.
The children cannot sit behind each other’s backs. When I work, I place the children so that they can see each other. And for them to see each other, I
arrange so the children sits in a ring. If the students are placed in rows, two by two, there is a possibility that they will look down in their bench since they cannot see all their peers. I mean, the children cannot be present and involved if they sit behind each other’s back. (Lindfors, interview 8 Febuary 2018)
Above is an example of how Lindfors works with the environment while teaching through Silent Books. In addition to the environment she uses a lot of drama and body language while working with different books, however the book is always the starting point of her sessions. When Lindfors is using Silent Books as a second language learning tool, she uses a lot of body language and naming and pointing at things. For example, if a student is pointing at something in the book and say the word in her or his language, she will translate into Swedish. Hence, there is an exchange of knowledge. Likewise Lindfors, Åberg also uses Silent Books through drama and body language. Åberg mostly works with adult second language learners with various knowledge in the Swedish language. Åberg often starts her session with letting the students look into the chosen book and process the picture, to later result in a conversation about it. Åberg and her students’ point at different pictures in the book in order to learn the words in Swedish. For example, if one of her students point at a picture of a horse, Åberg would save the name horse in Swedish and then they will repeat it together. They create wordlists together and thereafter their own stories. However, the procedure for her work is mostly the same, but she adapts the content and the language depending on the book and the level of the learner. Åberg also tries to bring different cultures into her work, often the Swedish compared to the culture within her students. This allows her students to see differences and similarities between the different cultures, which in turn help them to develop an enhanced understanding and empathy for each other.
6.2 Benefits and challenges
As mentioned in the previous paragraph, we have observed lots of different ways of working with Silent Books. Through our semi-structured interviews and observations, we can point out that there are both benefits and challenges with using Silent Books. It is important to highlight that the different benefits and challenges we have witnessed differ depending on the location where Silent Books is used. Thus, the benefits and challenges
According to our observations and the pedagogues we have been in contact with, there are many benefits with using Silent Books. For instance, one of the major benefits is that Silent Books can be used in various ways by anyone no matter the language. Since there is no right or wrong, the approach is one which opens doors and creates opportunities to be creative.
Åberg stresses that working with Silent Books allows the pedagogue to adapt the teaching to every single need of the students. Furthermore, she concludes that depending on what Silent Book you are reading, the student will use her or his experiences and pre-knowledge when interpreting the pictures. Åberg states that, sharing thoughts and experiences about pictures with others will help people to achieve mutual understanding. Thus, she considers that reading through pictures will help the recipient to challenge her or his thinking since a creative process is initiated while looking at pictures. Åberg believes that by sharing one’s thoughts about a certain picture and then listening to other’s thoughts about the same picture will result in an enhanced understanding, where you learn from each other. Furthermore, since some Silent Books contain stories about migration and different cultures, Åberg believes that it can contribute to an enhanced understanding for one’s fellow human beings. The process of interpreting and understanding pictures may thus develop critical thinking and increased sense of shared humanity.
Lindfors claims that the usage of Silent Books creates a positive feeling among the students.
One benefit through creating something through Silent Books, is that it creates a feeling among the students that they can, [that] they are proud to forward something that they have created on their own, and that someone else will be listening to their work. (Lindfors, interview 8 Febuary 2018)
Lindfors mentions that many of her students often get a feeling of that they can, that they have created and may share something on their own. Another benefit she has seen while working with Silent Books is that the students get the feeling that they actually gain something from school: that they create and learn things that are relevant to them, and that they are empowered. Furthermore Lindfors highlights the fact that she has experienced that her students learn faster through using books and pictures, and that their
vocabulary increases and develops faster due to the pictures. She claims that the pictures become a bridge between knowing a word and actually being able to understand and use it. Lindfors also emphasizes that through using Silent Books as a language tool, children develop self-confidence when it comes to the usage of the language in terms of speaking to others.
Beeks believes that Silent Books are a motivating factor. She thinks that children can understand everything at the level they are ready to understand, and it is the same with pictures. The children will interpret and understand pictures at their own level and this will enable them to reflect on experiences they have, and challenge them to think differently. Beeks also emphasizes that there are different styles of reading. To look at a picture once as an individual is one way, and one experience. To look at it twice is another way, where the individual can see the same picture twice and build on their own understanding. To look at it together with others and then talk about it is a third kind of experience. Lastly, to talk and exchanges thoughts about the things that have been experienced while looking at the pictures, will hopefully end up with a creative response, which will increase learning and inspire the students’ writing.
Soria states that one of the most important benefits with using a wordless picturebook, no matter who you are working with, is that you can just sit down together and look at the pictures in the book. Even though you may not understand each other there is no need for talking. Just by sitting together and looking at the same pictures you have a shared experience and create a connection. Soria also mentions that the book is an instrument a person always can return to. If a person only tells someone a story and then leaves, there will be nothing left. However, if that story is told with help of a book, the listener can always return and remember the story which was shared. Furthermore, Soria stresses the fact that if a person is learning a language only for one purpose, the person will only be given the language for that specific purpose. However, through using Silent Books or any picturebook you will learn a more lively language, since learning through books does not frame the purpose of why you learn something.
As we mentioned in the beginning, there are not only benefits with using Silent Books. The challenges that we have experienced through the semi-structured interviews and the
to all of the interviewed people, is that the imagination and the creativity among pedagogues’ are the biggest challenge. Beeks believes that in order to be able to teach a language through Silent Books the pedagogue have to be confident in her/his reading as well as creative in how s/he plan her/his lessons. Furthermore, Beeks has experienced challenges on her own which is to persuade pedagogues and grownups why she is using Silent Books.
Yes, persuading grownups and teachers and educators and parents to get onboard with silent books is one thing, the lack of words can be a barrier to teaching objectives that require written and read outcomes. With children, once they are on board with it, they are just naturally drawn to narratives and visually exciting things. That side of it is easy but I think the challenge is always to create the conditions where the dialogic learning can happen. (Beeks, interview 7 March 2018)
However, Beeks states the lack of imagination is not only a challenge among pedagogues but also among students. Some students may have a closed mind and do not know how to work with an unfinished story whereas some children does not want other children to interrupt or ruin their specific story. Beeks concludes that sometimes a certain story needs to be in a certain way to certain children. Lastly, she mentions the environment as a possible final challenge. As a pedagogue you need to create an environment where the children feel safe and are able to interact with the story. Surrounding factors such as background noise can also be problematic.
Lindfors does not see many challenges except one. She believes that pedagogues need to overcome the fear of trying something new and to work with something that is not proper school material. Soria consider the content of the story as a possible challenge. She states that a pedagogue never can take anything for granted, when choosing a book the pedagogues must take into account what children s/he are teaching. A content which is familiar to the pedagogue does not necessarily need to be familiar to the students. Furthermore Soria emphasis that similar to choosing a book which is relevant, the words that the children are supposed to learn need to be relevant as well. For example the student has heard and know about the word s/he is being taught; however, s/he may not understand the meaning of it.
6.3 Silent Books as a language learning tool
Even though some of the people we have interviewed do not work as language teachers or even as teachers, we have asked about their view on Silent Books as a language learning tool. Therefore, it is important to highlight that the information we will be presenting under this section is not based on all of our participants practical experiences, but on their own ideas, views and opinions about Silent Books, together with what we have observed. Through the interviews and observations, we can confirm that there are opportunities for Silent Books to be used in a language learning context. We can conclude that all of the interviewed participants agreed that language is learnt through using Silent Books. This conclusion is consistent with our observations, where we have witnessed that language is learned and developed in a context where it is used, and where the children are surrounded by it. Nevertheless, in that context it is not only about learning a new language, but developing and deepening one’s skills in one’s first language.
Everyone can look at pictures, and based on what they see, they can tell a story. The story may not be the same, depending on the readers’ back knowledge and life experiences. Åberg works with Silent Books as a second language learning tool, where she always uses the content of the pictures as a starting point. Together with her students’, they name things they see to later move on to putting easy sentences together about what is happening in the picture.
And how fast the students develop their language! I have noticed the thing that I think is good, it is that it does not matter how much pre-knowledge the student has in the Swedish language. What is good with this textless books are that you can start in the concrete as you see in the picture. (Åberg, interview 13 Febuary 2018)
In addition to this, Åberg states that her students get more motivated and eager to learn the language since they want to know the name of what they are looking at. Her students are creating something based on what they see, what they feel and experience, when they are looking at the pictures. Since they are learning the new language at the same time as they are creating something on their own, the learning becomes more meaningful. In the
thoughts about the pictures they are looking at which contribute to a dialogic learning. In relation to how Åberg works, Lindfors works with Silent Books in a similar way. Lindfors uses it both as a language learning tool and as a second language learning tool. According to her, the vocabulary in the new language is built faster since you can relate the new word to a picture from the very beginning. The pictures becomes the bridge to understanding. Furthermore, Lindfors claims that the work around Silent Books is built on the conversation about them. While students are learning the language, they also learn new ways to express it, since no picture is the same. In the end, they are given a more lively way to speak since they actually can relate real life situations to the pictures they have seen while learning the language. Lindfors emphasis that students’ are allowed to use the new language more freely from the beginning of their learning process. This corresponds to what Soria points out about learning a language: if you learn a language from a fixed content the learner will be limited since there is a predetermined purpose. A picturebook on the other hand allows the learner to determine her/his own purpose with the learning process according to what s/he sees in the pictures.
Beeks believes that Silent Books could function as a motivator when learning a language. She highlights the fact that if a child has a certain amount of a language additionally to her/his first language, the imagination and curiosity that Silent Books may contribute to, can be the factor which may motivate children to take language learning to the next level. Thus, Beeks states that if Silent Books were to be used as a second language learning tool, it has to be a complement to the traditional way of teaching. This is something all of the interviewed participants agreed on: that Silent Books is one tool among many (albeit a successful one!) you can use while teaching a language.
6.4 Discussion
The results of this study indicate that Silent Books can affect students’ language learning in a positive way. It is important to highlight the fact that Silent Books could function as one tool while teaching a language. It is not supposed to replace an already existing method or tool. It is a good complement in order to create a more meaningful learning environment. Moreover, from what we have witnessed during our observations, we would
ages read and interacted with each other. All reading sessions took place in a social environment where the children were surrounded by other children and adults. The adults read for and with the children, sometimes the children read together with each other. This show similarities to Vygotsky’s (1978) theories about language learning and the zone of proximal development; that learning take place in a social context where people are surrounded by each other, and can get support from a more knowledgeable person (older peer or adult). Furthermore, through our result we can easily see that there is a pattern while different people work with Silent Books and wordless picturebooks. As mentioned above, most of the reading sessions we have observed occurred in groups of different sizes, where the children were allowed to interact with each other and the story. Thus this do not only correspond to Vygotsky’s (1978) theories about that learning takes place in a social context, it also corresponds to what Gibbons (2013), Hughes (2010) and Richards and Burns (2012) claim about both learning a language and reading aloud. If children are given a chance to interpret the content together in a context which feel safe to them, as well as they are given a chance to link the words that have been said to the pictures they have seen, they can more easily follow and enjoy the story. Richard and Burns (2012) state that if a child is in a safe environment, the learning will become more authentic and meaningful for the child.
It has been shown that picturebooks tend to have a calming effect on some student’s since it often breaks down negative perceptions about reading and stimulate a more positive attitude. The children are allowed to read in their own pace and may create the story they see. There is no pre-determined pattern that the students must follow. This is clear from the semi-structured interviews, as well as the observations, we conducted on Lampedusa. It also corresponds to what several researchers (Birketveit & Rimmereide 2017; Lugossy 2012; Oranç & Alaca Veryeri 2017) say about reading picturebooks. Even though pictures books often have a meaning, it is not realized in the same way as a book with verbal text. A picturebook is experienced differently, depending on the reader, and by allowing the reader to decode it due to her/his own experiences. Even if there is educational value in picturebooks, it does not need to be perceived as only educational, since they are open to interpretation and invites the reader to escape into the world of imagination (Birketveit & Rimmereide 2017; Lugossy 2012; Oranç & Alaca Veryeri 2017).
Since there is a big variety of Silent Books with different content, it is important to be aware of what group you are supposed to teach when choosing the material for your lesson. Some of the most famous books within the collection of Silent Books may not be suitable for children in all ages. So, it is of highest importance when choosing a book so you will not offend or harm anyone you are supposed to teach through the chosen book. However, choosing the right book to the right group of people may contribute to an enhanced understanding for humanity and towards each other. Lugossy (2012), for example, argues that no matter the age of the people you are teaching, choosing the right book with a content that addresses cultural differences can invite the reader to a cultural otherness or a world far away from one’s own. This corresponds to the compiled result from the interview with Åberg and Lindfors. They state that through sharing one’s own life experiences through creating stories together with others, can help them to reach an increased cultural understanding. As a result of shared experiences, it leads to empathy, enhanced understanding and respect for each other and increased cultural participation. Furthermore, Hope (2008) and Callow (2017) argues that by letting children read and take part of picturebooks from different parts of the world, they can develop tolerance and understanding as well as develop empathy and a social conscience. Likewise, they can contrast representations of their own culture with others. However, we believe that although it can develop an enhanced understanding for one’s fellow human beings, it can also result in the opposite. Instead of understanding and respecting one’s peers who has gone through something horrible they will feel sorry for them and place them in a different box, where one is “you have gone through something horrible, I feel sorry for you,” whereas the second one may be “I have not gone through something horrible”. Instead of integrating the newly arrived in the classroom, there may be a division between the new and the old students.
In relation to what Lindfors mentions in the handbook for how Silent Books can be used, we do believe that pictures in different books within the collection of Silent Books can build bridges between different cultures as well as result in an enhanced understanding through discussing what is seen in pictures. Through discussions about the content in a book, a possible language development can occur. Just to sit and share the experience of looking at pictures in a book, knowing you are not alone is also some kind of communication, since a picture says more than a thousand words. However, from using
