How Many Words Is A Picture Worth? Integrating Visual .
LOTTIE BAKERUnited StatesHow Many Words Is aPicture Worth? IntegratingVisual Literacy in LanguageLearning with PhotographsA photograph is usually looked at—seldom looked into.–Ansel AdamsThe phrase “a picture is worth a thousand words” indicates that acomplex idea can be communicated by a single image. We mightspend an hour reading an article about the devastating effects anoil spill has on wildlife ecology. But a photograph of an oil-drenchedpelican gasping for air evokes in us an instant emotional response. Whileboth the article and the photograph communicate the magnitude of thedamage that oil spills can cause, the power of an image allows us to graspthis message within nanoseconds.Indeed, cognitive research has shown that thehuman brain processes images quicker than itprocesses words, and images are more likelythan text to remain in our long-term memory(Levie and Lentz 1982). With the expansionof technology that allows people from allwalks of life to create and share photographswith a few clicks, our world seems to valuevisual media more than ever before.What if we slow down this image-viewingprocess to unpack those thousand words thatunderlie each picture? As language teachers,we may be tempted to focus our attentionon the textual demands of instructionalmaterial—vocabulary, syntax, discourse, andso on—only glancing at photos as they happento support text passages. Instead of regardingpictures as simply complementary to text, I2ENGLISH TEACHING FORUM2 01 5suggest that we put images at the forefrontof instruction, embracing the possibilitiesthat visual media offer for language learning.Photographs hold potential for elicitinglanguage across all four domains: listening,speaking, reading, and writing. Incorporatingimages in language instruction will appeal todigital native learners, those students whogrew up in a world where using smartphones,laptops, and social media is part of everydaylife (Prensky 2001).However, these digital natives are notintuitively adept at analyzing and critiquingimages, skills that can be considered part ofvisual literacy (Brumberger 2011). Knowinghow to upload smartphone photographsto Facebook or Instagram does not makesomeone visually literate. We are too rum
passive consumers of images in the media,missing out on opportunities to exploreunderlying messages that the creators mayconsciously or unconsciously convey.Communicative language classrooms are anideal location to cultivate the visual literacyskills involved in viewing and creating images.In this article, I describe ways to use images tosupport students’ language skills while honingtheir abilities to analyze and create messages;sophisticated technology or high-resolutioncameras are not required. I first summarizeways educators have defined visual literacy,provide a rationale for connecting visualliteracy to the language classroom, and thengive examples of instructional techniqueswith photographs.CONNECTING VISUAL LITERACY WITHLANGUAGE LEARNINGImages have played a critical part in mywork as an English language teacher andteacher trainer. Pictures are sometimes usedto support comprehension, as a scaffoldingtool to help students quickly associateunfamiliar words with concepts (Beck,McKeown, and Kucan 2002). However,images also hold the power to stimulatecomplex language use, pushing students toextend their abilities. Therefore, while visualliteracy can be integrated with differentcontent areas, activities with images makean especially effective contribution tolanguage learning.Meaningful oral interactionWHAT IS VISUAL LITERACY?As archaeologists uncovering hieroglyphicscan attest, using images to create andinterpret messages has distinguished humansfrom other living things since the dawn ofcivilization (Burmark 2002). The term visualliteracy, however, did not appear in educationliterature until 1969, when Debes describedthe concept as a set of competencies that “ahuman being can develop by seeing and atthe same time having and integrating othersensory experiences” (1969, 27). Debesargued that these visual competencies enableindividuals to communicate with others,establishing a clear connection betweenvisual literacy and language education.Over the past four decades, scholars andpractitioners from a variety of fields haveconceptualized visual literacy, offeringperspectives ranging from theoretical topragmatic (Schiller 1987). The absence of acommon definition suggests the complexityof the processes involved in interpreting andcreating visual messages. For the purposesof this article, I assume a relatively broaddefinition of the term that reflects seminalconcepts from the literature: visual literacyis the competency to make meaning fromwhat we see and to create images that conveyimplicit and explicit messages to others.Exploring visual images can stimulateextended linguistic production. The way weperceive pictures depends on our existingschema, a product of memories and pastexperiences unique to each of us. Becauseinterpretation of what we see is subjective,analyzing images provides opportunities formeaningful student-to-student interaction.When using images in the English languageclassroom, challenge students to sharethe feelings that an image provokes orexpress why they like or dislike particularphotographs. This kind of oral interaction istruly communicative.Critical thinking skillsRarely is there only one way to understand animage, and expressing opinions takes infiniteforms. Interpreting images requires skillshigh on Bloom’s (1956) taxonomy, such asevaluating, synthesizing, and analyzing. Oftencalled “critical thinking skills,” Bloom’s higherorder skills are essential when communicatingabstract thoughts through language. Visualliteracy activities can help students hone theseskills. For instance, instructional techniquesthat foster visual literacy call for open-endedquestions, such as those beginning with “Why”and “What if,” that require extended responsesand higher-order thinking skills. Justifyingwhy they understand images in particularways requires students to analyze pieces 2015ENGLISH TEACHING FORUM3
Images provide a means for studentsto interact with phenomena fromacross the world.the image before producing a response basedon evidence from the image. Stating thatone “likes” or “does not like” an image is notsufficient for visual literacy; instead, studentsare challenged to link vocabulary from thevisual representations with abstract ideas orpast experiences.Global perspectivesImages provide a means for students tointeract with phenomena from across theworld; observing images from differentperspectives occurs in seconds and can bedone by learners of all language levels. Andperspective taking, or seeing phenomenafrom a point of view other than one’s own,is associated with language acquisition anddevelopment (MacWhinney 2005); in fact,MacWhinney argues that “perspective taking isat the very core of language structure” (198).Photographs compel the viewer to observeobjects by the way in which the camera framesthem. Comparing different photographs of thesame image reinforces students’ recognitionthat an object can be shown in differentways, not unlike the way a concept can beexpressed using different languages. Imagesenable students to perceive objects not onlyfrom varying spatial perspectives, but also toexplore visual stimuli from different globalperspectives.Potential for scaffoldingUsing images can serve as a type ofinstructional scaffolding, the constructdescribed by Bruner (1975) as specializedsupport that facilitates learning tasks thatare beyond the independent capacity of thestudent. Images can be used as an intermediarysupport for students who have not yetmastered particular vocabulary or sentencestructures. For instance, teachers might referto photographs or icons when introducing newtopics or vocabulary so that students quickly4ENGLISH TEACHING FORUM2 01 5grasp the meaning of new terms. Using graphicorganizers to spatially represent conceptualrelationships is another example of supportin language activities. Research shows thatstudents who utilize these kinds of visual aidsperform better on language tasks than thosewho do not (Baratta and Jones 2008; Nunan1999). Importantly, though, scaffoldingmechanisms are by definition temporary; thesupports should eventually be removed asstudents gain more proficiency and are able tocomplete tasks independently. The goal is not toeliminate visual elements from instruction, butinstead to change gradually the ways studentsuse images as supports. For instance, beginninglanguage learners might move from makingsingle word utterances to labeling items in aphotograph to forming complex sentencesthat make inferences about the context of thephotograph.Linking content with languageVisual literacy activities also provide anopportunity to link language to content(e.g., science, math, social studies). Languageresearchers have long called for languageeducation to be linked to content, whetherit be through a structured instructionalprogram, such as Content and LanguageIntegrated Learning (Coyle, Hood, and Marsh2010) or Sheltered Instruction ObservationProtocol (Echevarría, Vogt, and Short 2012),or simply by using thematic topics thatare meaningful for students. Using imagesin the classroom is one way to enhancethe content so that students interact withlanguage to communicate about a particularconcept rather than memorizing grammar orvocabulary in ways that may seem arbitrary.Images are a form of authentic material.Just as educators intentionally choose textsthey use in the classroom, they should alsostrategically select images to complementcontent learning goals. Content materialcan be integrated into any of the strategiesdescribed in this article, thereby transforminga language lesson into one that meets the goalsof the content classroom as well.Next, I describe four strategies for integratingvisual literacy into language instruction. m
only required materials for the activities arephotographs.INSTRUCTIONAL STRATEGIES USINGVISUAL IMAGESStrategy 1: Photo AnalysisThe practice of photo analysis facilitatesstudents’ observation skills while challengingthem to identify and use language that is partof the photograph. This activity, which isadapted from an online lesson at the NationalArchives and Records Administration (www.archives.gov/education/lessons), works bestwhen students work in groups of four.ideas later in the activity, they should makenotes of their ideas or jot down words theyassociate with the photograph. Dependingon the group and the photograph, studentsmight have different and even contrastingopinions. For example, some students mayassociate the photograph of the crowd ofpeople with dangerous subversion rather thanpatriotism. Encourage groups to jot downall representative ideas. Forming a holisticimpression does not need to take longer thanfive minutes, but discussing the photographas a whole ensures that students have a clearcontext of the photograph before they focuson details.Step 2. Observe closelyPreparationFor each group of students, select onephotograph of an event that is familiar orrelevant to your students. All groups can workwith the same image, or you can distribute adifferent photograph to each group. If possible,print copies of the photograph so that eachstudent has his or her own copy. In addition,students will need a three-column chart withthe headings “People,” “Things,” and “Actions.”They can make this chart themselves, or youcan create one for them.Divide the photograph into four quadrants.Assign one student in each group to aquadrant. Students might cover up the otherparts of the photograph with a blank piece ofpaper so they can focus on their assignedquadrant.Step 3. ListStudents use the three-column chart to listpeople, things, and actions they see in theirquadrant. Challenge them to list as manyitems as they can.Step 1. Discuss the overall impressionStep 4. ShareStudent groups discuss their initial impressionof the photograph. To guide discussion, youcan ask questions such as:Students share the items on their listwith their group members. Because eachstudent observes a separate quadrant of thephotograph, the lists will be different. What is going on?Step 5. Compare parts to the whole What is this photograph about? How does this photograph make you feel?For instance, a photograph of a crowd wavingsigns and flags outside a government buildingmay be an example of democracy-in-actionwith peaceful protestors, evoking feelingsof patriotism or excitement among somestudents. On the other hand, a photographof a nearly empty city alley with a seeminglypoor person next to a tourist may be abouturban poverty and evoke feelings of sadness.Because students will return to these initialStudents then return to their initialimpressions. They discuss how theirlists support (or do not support) theseimpressions. Instruct students to “identifyitems on your list,” “support your initialimpression,” or “use your list to tell whyyou had your initial impression.” Viewingan image holistically and then moving toan examination of details gives studentsopportunities to defend ideas with examplesand to practice critical thinking skills. Forinstance, students might justify that thephotograph of the demonstrators made themfeel patriotic because it shows people orum2015ENGLISH TEACHING FORUM5
flags. Or they might say that they knew oneof the people in the city alley image was atourist because he had a camera around hisneck. Alternately, students might use thedetails to challenge their initial impressions.Perhaps they originally assumed that one ofthe people in the city alley was a beggar, butupon closer inspection realized that whilethe person next to the tourist was wearingtattered clothing, he was not actually askingfor anything.Step 6. Make inferencesUsing the compiled lists and initialimpressions, students in each group agreeon three inferences they can make about thephotograph. Each inference must includejustification based on the people, things, oractions they observed in the photograph.This means students will use the vocabularythey noted on their three-column list. This isan opportunity to help students understandhow to infer and what an inference is. Makesure students understand these terms byexplicitly pointing out that making overallimpressions based on details is an example ofinferring. Explain that inferences are basedon observable facts (e.g., items on their lists)but can also involve invisible assumptions. Forinstance, students might infer that people aredemonstrating for a political cause in one ofthe photographs because gathering in crowdswith signs and flags—an observation from thephotograph—is in many countries a meansfor expressing dissent to the government, afact that may be part of students’ backgroundknowledge.Step 7. Pose questionsLastly, students extend their thinking by listingopen-ended questions that the photographraises. These should be questions that are noteasily answered by looking at the photograph,but instead require additional investigationabout the context of the photograph. Suchquestions might begin with “Why ” or“What if .” For the photograph with thecrowds of people, students might ask, “Whyare they demonstrating?”Adaptations and supports Vary the items that students write ontheir three-column list to match thecontent of the photograph or classwide language-learning objectives. Forinstance, rather than listing people,things, and actions, a class that is focusingon descriptive words might list colors,shapes, and textures. When instructing students to makeinferences, require that they use the wordsthey compiled in complete sentences. Ifnecessary, provide sentence stems suchas, “I infer because I seeand .” To help students grasp the concept ofinference, provide a graphic. One example isa math equation: the word inference equalsan icon of a pair of eyes, to representobservable items, plus an icon of athought bubble, to represent backgroundknowledge. As a follow-up to this activity, studentscan postulate answers to their questions orbrainstorm ways to find the answers.Strategy 2: Mystery PhotoIn this activity, the instructor obscures aphotograph and gradually reveals parts ofit for students to guess the image. Like thePhoto Analysis activity, Mystery Photo elicitsdescriptive language. This activity also engagesstudents in inductive reasoning, providing anelement of suspense that involves the languageof prediction.Select a photograph that is pertinent to an upcoming topicas a way to introduce students to the new contentand pique their interest.6ENGLISH TEACHING FORUM2 01 5americanenglish.state.gov/english-teaching-forum
PreparationSelect a photograph. Photographs withmultiple items, colors, or people work wellbecause one section of a photograph maybe completely different from another. Forinstance, famous landmarks pictured from adistance show perspectives that are not usuallycaptured in guidebooks. Alternately, zoomedphotographs, in which a relatively smallitem fills the space, are also effective becauseidentifying the image is difficult without beingable to perceive it as a whole.Once a photograph has been selected, preparefive to eight pieces of paper that completelycover the photograph. If a computer andprojector are available, consider usingPowerPoint by inserting a digital photograph,placing opaque text boxes on top of it, andthen animating the boxes so that they candisappear one at a time.Step 1. Obscure the photographShow students the photograph completelycovered by pieces of paper, like puzzle pieces.Step 2. Uncover the photographStudents gradually uncover the photograph byselecting pieces of paper to remove.You mightnumber the pieces covering the photographso that students can easily identify the piecesthey want to remove. If you are conductingthis activity with the entire class, establish aprocedure for selecting students to uncovereach square. One strategy is to write students’names on pieces of paper, then draw a namerandomly. After students understand theprocedure, they might engage in this activityin groups of four to six students. Each grouphas a separate photograph, and students taketurns uncovering it.Step 3. Make guessesAs each section of the photograph isrevealed, students describe what they see.Students then hypothesize about what thefull image may entail. As more pieces arerevealed, not only will students use thedescription of each section to make theirhypotheses, but they will also need toconnect to the prior pieces. In making theseguesses, students practice using the languageof prediction (e.g., “I predict that it will be ”or “I think it will be ”) as well asvocabulary associated with the photograph.With a large class, rather than calling ononly one or two students to share, askstudents to talk with a neighboring studentabout their predictions. Such pair workensures that all students are engaged andusing the predictive language.Step 4. DebriefAfter the final reveal of the image, studentstalk about the process of guessing what thephotograph might be. This kind of discussioninvolves metacognition, as students articulatehow they were able to connect pieces of theimage to form the full image. To facilitatethis discussion, ask questions such as,“Were you surprised about the photograph?”Or “At what point could you identify thephotograph’s content?” Or “Which part ofthe photograph gave it away?” A debriefingconversation also allows students to discusshow seeing only a piece of a picture oftengives different connotations and perspectivesthan seeing the photograph in its entirety.When I used a photograph of a saltwater fishtank with colorful coral formations, studentssaid they first thought the
all representative ideas. Forming a holistic impression does not need to take longer than five minutes, but discussing the photograph as a whole ensures that students have a clear context of the photograph before they focus on details. Step 2. Observe closely. Divide the photograph into four quadrants. A
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Rhyming words are an important aspect of phonemic awareness. The objective for this activity is simply exploration of the concept of rhyming words. When reading the pairs of words, emphasis the fact that the words are rhyming words because they sound the same at the end. All of these pairs of words came from Chugga-Chugga-Choo-Choo and Train Song.
