All posts by acrlguest

#libeyrianship: Pop Culture and #critlib in Information Literacy Programs

ACRLog welcomes a guest post from Jennifer Ferretti, Digital Initiatives Librarian, and Siân Evans, Instructional Librarian, at the Maryland Institute College of Art.

Beyoncé’s new album ‘Lemonade’ dropped April 23, 2016 as both a traditional album and a “visual album.” The visual album weaves poetry, music, cinematography, fashion, and literary and film references into an hour-long film that follows a woman going through stages of grief. The album was highly anticipated by two librarians at the Maryland Institute College of Art, Jennifer Ferretti, Digital Initiatives Librarian, and Siân Evans, Instructional Librarian. After watching Bey’s Formation music video and her performance at Super Bowl 50, Jenny and Siân realized the topics Beyoncé is exploring in her music provides a perfect opportunity to engage students through a popular point of reference.

In seeking to make research more exciting to undergraduate art students, while also promoting critical thinking skills, Siân developed an instruction session which included a visual analysis of Beyoncé’s Formation, a discussion of Black Lives Matter, and an active learning component in which the students responded to Beyoncé’s Super Bowl performance by researching the Black Panther Party in the library catalog, research databases, and special collections. Jenny, also invested in developing critical thinking skills via popular culture, primarily through digital resources, designed a topical LibGuide which provides perspectives, opinions, and ideas referenced or directly address in Lemonade.

In this post, borrowing The New York Times Bits Saturday newsletter’s conversational style, Jenny and Siân discuss #critlib, engaged instruction, and the success of the topical LibGuide “Beyoncé’s Lemonade and Information Resources.”


Jenny: Hi Siân! What are you up to?

Siân: Morning, Jenny! I’m just prepping for a meeting with a faculty member who is teaching a course on Art and Totalitarianism. You?

Jenny: Sounds interesting! I got an email today that has me thinking about my unit of the library, Digital Initiatives, taking on archiving websites.

Siân: Nice! I was having coffee with my dog, Pickle, this morning and I noticed that an article in City Paper came out about the Lemonade LibGuide you made. How many times has that LibGuide been viewed now?

Jenny: Aw, Pickle! Let me check… 39,775 views as of today!

Siân: Dang, girl! How does it feel to be internet librarian famous??

Jenny: <blushing> Honestly, I’m still taking it all in. It feels great to feel supported by so many people who work in libraries, archives, and museums. I love the fact that I can talk about Beyoncé and librarianship in the same conversation. I’m also really enjoying all the other projects that are popping up that are related, like the #LemonadeSyllabus.

Siân: The guide was shared on Twitter by Sherrilyn Ifill, President & Director of the NAACP Legal Defense and Educational Fund, School Library Journal, and Kimberly Drew (aka @museummammy), founder of Black Contemporary Art and Associate Online Community Producer at The Met, among many, many others. It even has its own hashtag: #libeyrianship. That’s pretty epic! So, why did you choose to publish it as a LibGuide? What do you think about them as a means of instruction?

Jenny: The shares have been overwhelming in the best possible way. One of the things I love about Twitter is that you can speak to a certain community, but what you say can also echo out to people you thought wouldn’t find what you do relevant to them. I’m grateful for every share and like!

Honestly, I chose to publish the research guide as a LibGuide because the platform lets you organize information quickly and easily. I didn’t want a list of links. I wanted gifs, book covers, etc. LibGuides can be used for lots of purposes. Decker has been using guides mostly for programs. I find LibGuides to be most successful when they center in on a particular subject or research topic.

After sitting in on your library instruction class based on Beyoncé’s Super Bowl performance and Formation video, the idea for a research guide on Lemonade just made sense. In fact, that class went so well and was so different from what I’ve seen here previously, could you tell us a bit more about the idea behind it?

Siân: Sure! I think that was one of the first conversations you and I had about librarianship, because we were both so fascinated by Beyoncé as a means to critical instruction. I had just started working at MICA and I was so thrilled to learn that there are faculty here who are open to creative, critical library instruction.

So, less than a month into my job, I convinced a particularly thoughtful and engaged professor to let me test out my “Beyoncé-based instruction session.” Her class consisted of first year students, mostly fine arts or graphic design majors, who had limited research experience and, in some cases, doubts about the relevance of library research to their work. Our goals were to get them to think about why research is relevant to their practice, to introduce them to different types of library resources, and to think critically about how they read and access information generally. We started with a visual response to the video Formation, mimicking the format of the crits they experience in their studio practice.

Jenny: I have to stop you right there. I loved the visual response part of the session. As MICA alum, I know how important it is to learn effective critique skills, both giving and receiving feedback. I think it’s so interesting that you connected critique to information literacy in this way. It reminds me of Larissa Garcia and Jessica Labatte’s writing on metaliteracy, where multiple literacies such as visual, news, digital, etc. intersect.[1] The session resonated strongly with me, so I can imagine it did a lot for our students.

Siân: Aw, thanks Jenny! I honestly did that kind of on the fly! I’d been thinking about how to engage students who don’t see research as relevant to their practice. So, I used the video and our visual analysis of it as a jumping off point to discuss plagiarism, with the example of Beyoncé’s usage of footage from the Bounce documentary, That B.E.A.T. We looked at some of our Special Collections on related subject matter and, finally, in an active learning session, we had students researching the Black Panthers on Google, in our databases, and online catalogue. In the assessment survey, one student commented that this was the first she’d heard of the Black Panthers! I really feel that starting with a familiar, popular reference helped draw the students into the research process.

I know you have similar thoughts about the ‘Lemonade’ research guide. Can you talk a little bit about your thoughts on the role of popular culture in librarianship?

Jenny: The ‘Lemonade’ guide is the first time I’ve publicly connected a piece of popular culture with librarianship. I started thinking about film and television and librarianship as I watched The People v. O.J. Simpson: American Crime Story. Sounds weird, I know. There’s a scene in that TV series where a large group of protestors are gathered outside the courthouse. Vendors are also there selling merchandise about O.J. Simpson’s guilt or innocence. My first thought was, “did the producers see this sort of thing in the original news footage?” As an advisory board member on the Preserve the Baltimore Uprising archive project where we collect images, sound, and text from the 2015 Baltimore Uprising, I’m constantly thinking about how people, including librarians and educators, will use the archive now and in the future. Did you see the job posting for the Librarian for Literary and Popular Culture Collections at Brown University Library?

Siân: Yes! I think it’s amazing that more libraries are aware that we need to be #relevant! I think that another one of your LibGuides, Understanding Civic Unrest in Baltimore 1968-2015, is also evidence of this drive to make research relevant to the community in which you work. I feel like the elephant in the fictional room of our conversation is critical librarianship. How do you think #critlib plays into your work as a Digital Initiatives Librarian?

Jenny: Great question. First, I think less about how to stay relevant and more about how searching, analyzing, and disseminating information plays into many situations, including art. As Kenny Garcia wrote, “critical librarianship seeks to be transformative, empowering, and a direct challenge to power and privilege.”[2] #critlib asks us to be self-reflective and conscious of ourselves and our institutions so that we don’t contribute to systems of oppression. This is what I thought librarianship was about, I just didn’t have a way of articulating this before I learned about #critlib.

While at the peaceful protests and gatherings during the 2015 Baltimore Uprising, for some reason I felt like I should be there as a Baltimore resident, a person against police brutality, but also as a librarian. I don’t see a separation between librarianship and social justice. Now that I know more about #critlib, I understand why. Do you ever feel that way?

Siân: Definitely. As librarians, we promote equal access to knowledge and educational resources, so our work shouldn’t be limited to the library, the classroom, or even the campus. I see my work with Art+Feminism, for example, as “information activism” that is an extension of my work as a librarian.

Jenny: I’m so glad you brought up Art+Feminism! I’ve been a fan from afar. Before you arrived at MICA, I read a great ACRLog post about instructional design by Lindsay O’Neill. It was the first time I thought about critical instruction and design and I know we’ve talked about similar ideas. Could you talk a bit about any plans you might have for instructional design and how critical instruction differs from a more traditional take on library instruction?

Siân: That’s a great question and one I feel only .5% qualified to answer! 🙂 In my work with Art+Feminism and in my previous job at Artstor, I’ve had the opportunity to work with lots of designers and UX researchers, as well as librarians. I loved Lindsay’s post! And it brought up a lot of food for thought about the cognitive overload in my current instruction practice. As an art historian and librarian I have perhaps an unproductive love of text. But, I see teaching as an agile, iterative process. I think a lot of critical instruction is based on this principle as well — teaching isn’t top-down, it’s a process of communication between the instructor and the students. So, it has to be ever-evolving.

For anyone who wants an introduction to this, Eamon Tewell just published a literature review on a decade’s worth of critical information literacy and I really recommend Char Booth’s Reflective Teaching, Effective Learning.

Jenny: Wow, ten years worth of critical information literacy! I’m really looking forward to watching (and contributing in some ways to) the evolution of our information literacy program here at Decker Library. And I’m happy that I have someone to talk about Beyoncé with at work. 🙂

Siân: Ditto! It’s amazing to have inspiring colleagues who are doing important work, it’s like a daily reminder of why I became a librarian. And our #dailybey Slack channel is a definite highlight!

beyoncetwitterchat

Decker Library will be hosting a Twitter chat about the LibGuide and instruction on Wednesday, June 8 at 2pm EST. Follow along using #libeyrianship and @deckerlibrary.

[1] Larissa Garcia and Jessica Labatte, “Threshold Concepts as Metaphors for the Creative Process: Adapting the Framework for Information Literacy to Studio Art Classes,” Art Documentation: Journal of the Art Libraries Society of North America 34, no. 2 (Fall 2015): 235-248.

[2] Garcia, K. Keeping Up With… Critical Librarianship. Association of College and Research Libraries, American Library Association. Retrieved from http://www.ala.org/acrl/publications/keeping_up_with/critlib

Publishing Practice: Developing a Professional Identity

ACRLog welcomes a guest post from Chelsea Heinbach, MLIS student at the University of Denver; Cyndi Landis, MLIS student at Emporia State University, and Alison Hicks, faculty at the University of Colorado, Boulder.

How can we bridge the divide between learning about library instruction and engaging more concretely with a teaching librarian’s values and responsibilities? This was the question that drove the design of a writing assignment in our recent library instruction course at the University of Denver, and that we have been grappling with since the semester ended. Designed to mimic a core part of many academic teaching librarian positions, as well as to involve students more closely with teaching librarian communities, the assignment asked students to write a 3000 word essay that was peer-reviewed by librarians in the field, and published as an Open Access book.

Drawing from the idea of publishing as pedagogy, as well as sociocultural learning theories that emphasize participation rather than imitation, students were excited to mold the assignment on the first day of class. At the same time, the prospect of writing for a broad audience at this stage of a career was very different from previous LIS program experiences. This blogpost serves to explore the experiences of two MLIS students who participated in this project, Chelsea Heinbach (University of Denver) and Cyndi Landis (Emporia State University), as well as attempting to reflect on the role and nature of instruction librarian education today.

Merging practice and theory

The MLIS degree is largely practical in nature. As academic librarians in training we talk about publishing as well as open access, conferences, and peer review, but there is often little room built in for identifying our own place in these processes. While there are opportunities to publish as a student, there are rarely chances in class to simulate the peer review process and to treat our work as serious academic contributions. The future regarding our own publishing remains abstract for the entirety of our master’s degree and there are few chances to explore our professional writing goals and ideas. This assignment offered us valuable mentorship in academic writing, extensive and thoughtful suggestions for improvement, as well as an opportunity to explore our professional identity in a supportive environment.

Value

As a graduate student, there is pressure to have something on your resume to make you stand out among the pool of job applicants. We each scramble to find that extra separator to distinguish ourselves from others or at least to fill in the blanks of which accomplishments we think we should have by now. This assignment was something we could be proud of and use to prove ourselves.

Excitement and intimidation swept over us as we began to research and select our instruction topics. What did we want to know as a future teaching librarian? What could we research to make this open access book contribution count? This assignment was the opportunity we’d been waiting for throughout our graduate school experience – a professional introduction into scholarship that was guided and supported rather than just an assignment to be completed and tucked away in our personal portfolio.

Unlike most research papers throughout our LIS programs, this assignment would be shared with professionals beyond the student-teacher relationship. Not only would library professionals assist in the peer-review process, but the open access book would later be promoted within the LIS field as an example of this unique approach. This exercise was designed to emulate what research could be like in the “real-world”. Even the peer reviewers wished they had a similar opportunity when they were in school.

While we recognized this as a valuable opportunity that we were excited to engage with, we also grew nervous about the implications. With the permanence of this piece weighing heavy on each step of the writing and research process, we began to unravel the pieces of its potentially lasting effects. What topic would best fit our future career goals? Would it be something we could use to start building our curriculum vitae? Throughout the assignment, we felt the reality of this valuable opportunity sinking in, causing us to reflect hesitantly on the formation of our professional identity and our overall contributions to the field.

Editing

As we received feedback from our instructor and reviewer, the constructive comments revealed areas for improvement. Our wandering thoughts now had direction and our emphatic assertions were paired within the context of practicing librarians; we had a glimpse into our book’s audience and we could refine our papers with confidence.Throughout our academic careers, we had rarely received the opportunity to improve our scholarly writing within the assignment, or even within the course. The peer-review process gave us genuine, productive feedback to revise our paper before submitting the final piece for publication.

The feedback was two-fold, receiving detailed comments from Alison and our peer-reviewer. Comments ranged from pointing out areas to improve writing clarity, to making connections to concepts that we hadn’t seen before, and suggesting other sources to use for a broader perspective. As we are not yet practicing librarians, we found that some of the issues we wanted to discuss are already common knowledge in the profession. The reviewers’ comments provided the insight of instruction practitioners, helping us identify what truly needed further discussion and what research conclusions would prove helpful to our professional audience.

The level of detail in the feedback given in this assignment highlighted the lack of response have routinely received throughout our academic careers. With a few exceptions, we have rarely received suggestions for improvement on our work and instead have simply received a grade. After pouring hours into research and writing, a final grade isn’t as satisfying as encouragement and thoughtful recommendations for further development. Up until this point, some of our most demanding academic work stemmed from our expectations of ourselves and our future goals.

Identity

This assignment, therefore, provided a welcome break from the standard dynamic, as it gave us an opportunity to explore and assert our views in a way that felt more impactful than a simple class paper. It was encouraging to be taken seriously by a professional in the field and to have the opportunity to contribute to such a unique project.

However, after the excitement of the opportunity wore off, we realized we felt nervous about moving from passively reading the literature to owning our own viewpoints. This class is a mere ten weeks long and, as students, many of us are balancing multiple jobs, volunteer positions, job applications, committee obligations, and other classes. In addition, the academic library world can feel like an overwhelmingly polarized place where work is judged and dismissed openly and critically. While these conversations lead us to important awakenings regarding issues in the profession, we found it difficult to feel comfortable as students making assertions when we were still developing our own positions. Perhaps this was simply due to overzealous imposter syndrome, but it is why some of us ultimately focused on topics that were not overwhelmingly controversial, and decided against making an obvious political statement with our work.

In the end, this pressure to cultivate raw ideas and develop work that would be seen led to a more genuine interaction with the content than we have had in most other classes. Ultimately, it helped us develop our professional research goals in a more concrete and granular way, giving us a better understanding of publishing demands. At the same time, the intersection between student research and professional practice exposed some eye-opening issues that arise for LIS students. We are taught general theories of librarianship and given research assignments with little guidance of whether our conclusions and assertions are appropriate in the context of the challenges professionals face. To combat this block between the classroom and our professional careers, one of the most beneficial experiences we can have during library school is a mentor in our chosen area of librarianship.

We really appreciated the feedback and we encourage librarians to seek out opportunities to mentor LIS students, to share their professional experiences, and to help to bridge the divide between theory and practice. This project enlisted an enthusiastic group of librarian reviewers, who we recognize as invisible laborers behind its success. We are grateful to them for their  collaborative participation and commitment to bettering LIS student work through this publishing practice. Lastly, this memorable assignment would not have been possible without Alison’s insightful vision, reviewer matchmaking, and endless encouragement. When students and professionals engage in dialogue, it fuels our profession with a stronger foundation of new ideas and perspectives.

Advice and suggestions for future improvements

For anyone who is interested in building upon this assignment, we would offer the following advice:

  • Scaffold: The assignment built in plenty of drafting time so the peer review really helped to edit and shape the final essays. At the same time, many students found that choosing a relevant topic was tough. We suggest plenty of class discussion about potential directions, as well as interviewing a professional before starting in order to get guidance.
  • Workshop: Our class did not build in any in-class workshopping, but that could have made the delivery of the first draft less stressful. The process of reviewing other people’s work is always helpful for writers to experience, too.
  • Connect: This assignment was strengthened through the matching of reviewers with paper topics about which they were knowledgeable. Although the entire process was double blind,we found that this expertise, as well as the sincerity that the reviewers brought to the assignment, added considerably to the development of the second draft.

Read the book online: http://gotaminute.pressbooks.com/
Read the archived PDF: http://digitalcommons.du.edu/lis_stuother/3/

Why GLAM Wiki: Wikipedia and Galleries, Libraries, Archives, and Museums

ACRLog welcomes a guest post from Siân Evans, Senior Implementation Manager at Artstor.

In the fall of 2013, I was thinking about how every year I attend the ARLiS Women and Art Special Interest Group at ARLiS NA’s annual conference. And, every year, we as a group would lament the lack of representation of cis and trans women in the arts, as well as the lack of focus on gender issues in art librarianship. So, I teamed up with some amazing friends and colleagues to co-found Art+Feminism, a rhizomatic campaign to improve coverage of cis and trans women and the arts on Wikipedia, and to encourage female editorship. The current highlight of my career is that if you Google “art and feminism” we’re the top 5 results. But, rewind to two years ago: I hadn’t edited a single article on Wikipedia. So, I’m not going to go into the details of the work we do as Art+Feminism. You can find out more about that here, here, and here. Instead, I’m going to talk about why you should care about creating a Wikipedia program on your campuses and how you can get started, without any editing experience.

For those of you who are Wiki newbies, like I was, Wikipedia is the world’s largest open-source and open-access encyclopedia. Founded in 2001 by Internet entrepreneur Jimmy Wales and project developer Larry Sanger, Wikipedia is hosted by the nonprofit Wikimedia Foundation. But its content and policies are largely the product of a vast community of volunteers, often called “Wikipedians”. There are over twenty-four million named user accounts (not counting IP address editors), but there is a much smaller cadre of roughly 31,000 “active editors,” which the Wikimedia Foundation defines as five or more edits in any given month. As of February 2014, Wikipedia had roughly eighteen billion page views and nearly five hundred million unique visitors a month. This means that it is the seventh most-visited site in the world. Not only that, but its content is often pulled into other sites using APIs (application programming interface).

As librarians, we should care about Wikipedia because it is so often where our patrons start their research process and, because it’s open source, we have the tools to improve it. Studies show again and again that college students use Wikipedia throughout their research process. Many universities have responded to this trend by employing Wikipedian-in-Residence programs, wherein experienced editors spend time working in-house at an organization. The benefits of these programs aren’t simply fulfilling meet-your-user-where-they-are outreach but also that they provide a platform to make your digital collections more broadly available and useful to researchers. For example, the Metropolitan Museum of Art has been collaborating with local Wikipedians to train librarians to add bibliographic citations to relevant articles. Since undertaking this program, web traffic has “increased exponentially.” According to William Blueher, collections and metadata librarian at the Thomas J. Watson library, the library’s digital collections got over one million page views last year, up from around 100,000 in 2012.

Wikipedia edit-a-thons also provide a space in which you can connect your institution to local communities. A number of institutions — including Notre Dame University, Ohio State University, and the Art Gallery of Ontario — that have participated in Art+Feminism edit-a-thons, have gone on to hold local edit-a-thons in their community. These can be an excellent opportunity to connect your institution to local Wikipedians or historians interested in contributing their specific knowledge to Wikipedia.

Furthermore, Wikipedia’s only study on its community of editors suggests that its editor base is largely homogenous in terms of gender and ethnicity. While the numbers on gender are dire (estimated less than 10% of Wikipedia editors identify as cis or trans women), the numbers on race and ethnicity are murky, at best. There’s no data on the ethnicity of all Wikipedia editors except that only 7% of all surveyed editors believe their ethnicity is different from most of the editors who edit their home Wikipedia (e.g. their country’s version of Wikipedia). Projects like Art+Feminism, AfroCROWD, and Wiki Loves Pride are just a few examples of grassroots efforts to improve content via participation. By promoting new editorship on Wikipedia and by training young people while keeping intersectional politics in mind, you would be actively working to build a better, more robust encyclopedia.*

Now that I’ve talked a little bit about why you should care about GLAM-Wiki programs, I’d like to talk about how you can participate. One of the goals of Art+Feminism is to expand beyond art. As such, we’ve created organizer’s kits, training videos, and more on our Resources Page. These materials can easily be reused for a non-gender gap edit-a-thon, and we’ve aggregated lots of other great Wikipedia training materials on this page, as well. You can also get in touch with the helpful folks at The Wikipedia Education Foundation, a small nonprofit organization that “serves as the bridge between academia and Wikipedia.” They can provide excellent resources and information on teaching with Wikipedia, among other things.

Go ahead and be bold.

*If you’re interested in reading about Art+Feminism, and the relationship between librarianship and information activism on Wikipedia, you can find more of our thoughts here.

Update on the Standards for Proficiencies for Instruction Librarians and Coordinators

ACRLog welcomes a guest post from Sara Harrington, Head of Arts and Archives at Ohio University Libraries.

The Standards for Proficiencies for Instruction Librarians and Coordinators are being revised by a Task Force appointed by the Instruction Section Executive Committee. A July 27, 2015 post on the ACRLog described the goals in revising these standards. This post shares the seven new roles that will be included in the revised standards and includes the draft section on the advocate role.

The roles are:

  • Advocate
  • Coordinator
  • Learner
  • Teaching Partner
  • Instructional Designer
  • Leader
  • Teacher

standards-roles

From Amsberry, Dawn and Wilkinson, Carroll Wetzel. Revitalizing the ACRL Standards for Proficiency: Evolving Expertise for Instruction Librarians. Poster Session, Saturday June 27, 2015 San Francisco at the Annual Conference of the American Library Association.

The revised draft Standards for Proficiencies for Instruction Librarians and Coordinators are structured in the following way. Each role includes a short description followed by a list of strengths displayed as a part of professional practice that provide evidence for that role.

Here is the draft content for the Advocate role:

ADVOCATE

Advocacy can involve persuasion, activism, encouragement, and support in many forms. An instruction librarian will need to be able to contextually situate information literacy and communicate its value across a range of audiences in the university community.

Strengths:

  1. Advocates for professional development opportunities and other forms of career advancement.
  2. Communicates the value of information literacy to colleagues within the library system.
  3. Partners with faculty to encourage the integration of information literacy within courses and within curricula.
  4. Engages with other campus entities to integrate information literacy into co-curricular activities.
  5. Promotes and advances information literacy framework to library leaders and campus administrators.
  6. Advocate for information literacy in relationship to student success in the context of institutional learning goals or outcomes.

The Task Force is currently completing the full draft of the roles and will share the draft document beginning in January 2016.

Please contact co-chairs Sara Harrington (harrings@ohio.edu) and Carroll Wetzel Wilkinson (cwilkins@wvu.edu) with questions, comments, and feedback.

Standing in Front: The Lecture in One-Time Library Instruction Sessions

ACRLog welcomes a guest post from Amber Gray, Social Sciences and Humanities Librarian at the University of Maine.

There’s been some discussion lately, quite a bit of it spurred by a recent New York Times editorial, about the potential benefits or detriments of the lecture format as well as the potential benefits or detriments of interactivity and active learning in the classroom. I, like many people, believe that both lectures and active learning are useful tools and are useful in different contexts, but what I’d like to discuss here is the unique utility of the lecture format in the one-time-only library instruction session.

Before I continue, I want to be absolutely clear that I am in favor of finding new and interesting ways for students to learn in a classroom environment. If you are looking for a piece of writing that rails against flipped classrooms and active learning, you won’t find it here. I think all these different methods can be and are very useful in a classroom setting. The point that I want to make is that, while flipped classrooms and active learning are great, there are some elements of the lecture format that may be particularly well-suited for the type of one-time library instruction sessions that we as librarians may give in conjunction with college and university classes.

You’ll notice that I used the term “one-time” to describe library instruction sessions, and I think this particular phrase is crucial in distinguishing the work of a semester-long class from the type of instruction librarians often give. A professor, instructor, lecturer, or teaching assistant has a class for a certain period of time at least once a week for a certain number of weeks. A librarian often has a class once for a certain period of time, and whether or not she sees any of those students again is a matter generally left to the individual students. The amount of time a librarian has in which to present is also dependent on the professor; some professors are happy to schedule an entire class session with the librarian, while others prefer a brief twenty- or thirty-minute overview.

Regardless of the amount of time the librarian has, what the librarian presents tends to be defined by the requirements of the class—whether there are any research projects the students will have to conduct, for example, or whether they have to find scholarly articles about a particular topic. And, in what I think is an essential element of the library instruction session, the librarian often has specific resources, research strategies, and tools that the students need to know about by the time the instruction session is over.

This is where the usefulness of the lecture format comes in. In a lecture, the instructor (a librarian, in this case) stands before a class and gives them information they need to know. Especially for library instruction sessions that are twenty minutes or half an hour long, information needs to get to the students in the most efficient way possible, and I would argue that the lecture is one of the best ways in which to do this. A librarian doesn’t have the time the instructor has; there is no additional meeting in which the librarian can share material there wasn’t time to cover in the first meeting. This single meeting has to give the students the tools they need for the rest of the semester; some of the students may contact me for additional information, but I can’t assume they will, and almost certainly some of them won’t. The lecture is, to me, one of the best tools for getting information across in a direct and efficient way, particularly if I’ve got a limited time frame in which to accomplish this.

Now, I’m not suggesting that a lecture is the answer to everything, or that it should be used exclusively instead of any other teaching style. If a professor brings in a class for two hours, I’m not going to lecture to them for two hours. I’m going to talk with them for perhaps forty or forty-five minutes, and the rest of the time can be used for active learning, individual research, questions, or whatever else might be most helpful for this particular group. But even in a longer instruction session, I think that a lecture is a good method of giving students the tools they need to begin.

Lectures are useful, but they can also be difficult, and they tend to require periodic revision. Some of the most successful instructors I have known have used the lecture format, and they change and refine their lectures every year, with the continued inclusion of material that works and the excision of material that doesn’t. As with creating any other type of lesson plan, creating informative and interesting lectures is an iterative process. But when a lecture goes well, it is incredibly satisfying, and students leave the session energized, knowing more about what they need to be able to do their own academic work.

Library instruction is a constantly changing and innovating field, and I think that’s wonderful. I also think that one of the most important aspects of innovation in relation to instruction is, along with creating and working with tools and techniques that are new, being able to use them in conjunction with tools and techniques that aren’t, like the lecture. The teaching styles at our disposal can be as expansive and as varied as we want them to be.