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In this commentary, the authors move beyond digital literacy and take up the question of what digital citizenship means and looks like in the context of the COVID‐19 pandemic. To engage with questions of ethical practice, the authors begin with the International Society for Technology in Education framework for digital citizenship. They expand on these standards to argue for an awareness of the ethical questions facing citizens online that are difficult to encompass as a set of skills or competencies. The authors then take these considerations into a set of practical steps for teachers to nurture participatory and social justice–oriented digital citizenship as part of the curriculum. The authors conclude by noting the digital divide and social inequities that have been highlighted by the current crisis.

The relative ease of digitally documenting and sharing classroom life creates new challenges for teachers faced with critical decisions about what digital representations to share with families/caregivers and for what purposes. The authors explored one kindergarten teacher’s yearlong approach to using Seesaw, a digital portfolio app, to make the process of early literacy learning in the classroom more visible to families/caregivers. Ultimately, this teacher's approach to digital documentation aimed to move the conversation between school and home from what is being learned to how learning happens, offering rich invitations for families/caregivers to engage in the literacy learning process alongside their children.

Building a better public education system for our children begins with providing students with real‐world learning experiences from the very beginning. To this end, the authors explored how two kindergarten teachers scaffolded scientific literacy learning using an authentic multimodal text before, during, and after a zoo field trip in ways that fostered the identity of kinder “scientists” along with good literacy skills. From their experiences, public educators can help their students develop strong science knowledge and scientific literacy through rich literacy practices intertwined with learning science content, over a period of time, with multiple, varied, and scaffolded uses of an authentic, multimodal text and paired with authentic, out‐of‐school learning experiences.

This study, part of a longitudinal classroom ethnography, explored the use of drama as a social art or tool that invited children to produce knowledge and critical insight into their relationships with technology. Through a series of process drama engagements, fourth, fifth, and sixth graders constructed meaning with their bodies, improvising multilayered, dramatic scenes related to the introduction of one-to-one (1:1) iPads in their classroom. One dramatic engagement is explored here in detail: children’s production of digital commercials that argued for or against 1:1 devices in schools. Using a framework for analyzing performative experiences in education, analyses focused on the moment-by-moment emergence of children’s bodies and affect within a single focal commercial. Findings suggest that by positioning classroom practices, rituals, and discourses as productive sites for collective cultural and dramatic interpretation, children became active theory makers, producing knowledge that went far beyond rational classroom discussions about technology. This work suggests that the intersection of drama and technology offers possibilities for expanding the interpretive space of the classroom—a way for teachers and children to collectively and critically consider how technology may disrupt ways of being and learning in classrooms, inviting new forms of relations between bodies and materials.—

Despite the overwhelming frequency with which bereaved students are present in classrooms-one survey found 70% of participating teachers taught students who recently experienced the loss of a loved one (American Federation of Teachers and New York Life Foundation, 2012)-teachers continue to feel unprepared, reluctant, and even resistant to engaging students in talk about grief in the classroom (Mahon, Goldberg, & Washington, 1999). [...]children experiencing grief seek to make meaning through interactions with families, religious institutions, and the broader communities and cultural spheres-such as schools-in which they participate. Johnson (2004) noted the significant increase in the diversity, number, and specialization of these books for children over the last hundred years; however, the paucity of scholarly work examining actual classroom interactions around these books suggests continued cultural/social reluctance to bringing these texts into classrooms. Because teachers cannot always predict when a child might feel compelled to provide \"testimony\" in response to a shared book, Dutro focuses less on identifying specific texts and more on developing \"pedagogies of reciprocal testimony and critical witness\" (Dutro, 2013; Dutro & Bien, 2014).

By including mobile video as a form of informational text in the literacy classroom, teachers can support young children's ability to read, write, talk, and learn about the scientific world.

By including mobile video as a form of informational text in the literacy classroom, teachers can support young children's ability to read, write, talk, and learn about the scientific world. With 11 million weekly viewers, the video-streaming app YouTube Kids is now the most popular way young children engage with mobile media. The \"stationary internet of the early 2000s\" has transformed into a world of digital information while 'on the go'--, with the viewing of streaming video being one of the single biggest changes in the online behavior of both children and adults.

When the global pandemic propelled the world into lockdown, artists of all kinds--musicians, writers, poets, painters, and dancers--began sharing art and their artistic processes from their homes and studios. This included children's book authors and illustrators who sought out new ways to maintain connections virtually with young readers (Quattlebaum, 2020). Using social media and videoconferencing platforms, they connected virtually from their own homes with their audiences, offering read-alouds from living room couches, drawing tutorials from kitchen tables and writing lessons from grassy backyards and conducting interactive question-and-answer sessions from bedrooms-turned-studios. In this article, the authors aim to theorize the author/illustrator visits with Raúl the Third and Sara Varon, working, more specifically, to explore the unique affordances of conducting virtual visits from home and studio spaces. Descriptions of the Zoom visits where the authors/illustrators shared their artwork with children and implications for building the paratextual threshold through virtual visits are included.

This chapter explores young participants’ use of technology mediated humor in English classrooms. The use of ethnographic methods in two distinct contexts revealed three main functions of “being funny”: affiliation-building, critiquing, and unsettling. Humor as affiliation-building reveals students' deliberate cultivation of their social self through a variety of methods, ranging from the creating “exclusive clubs” on a social networking site to the parodic remixing of infomercial conventions when composing digital texts. Humor as critique, emphasizes the ways in which students agentically manipulate conventions, school assignments, and teacher invitations, to creatively “mash-up” in-school and out-of-school norms and parodically critique schooled expectations related to technology. Finally, humor as unsettling hints at the ways that digital technology enables students to disrupt teacher-assigned school-purposes in pursuit of other, more pressing social purposes that may clash with what is seen as appropriate for school.

During a virtual author/illustrator visit with Raúl the Third, a second grader types in the chat: \"Do you have a favorite comic book artist?\" Because Raúl the Third is in his studio, he is able to turn the camera toward the bookshelves and walls in his office, responding: \"If you look...then you'd see!\" Sitting in homes hundreds of miles away, children in the audience move closer to their screens, taking in all of the \"stuff\" that an author/illustrator like Raúl the Third keeps nearby as he works, plays, and engages in the bookmaking process. Using social media and videoconferencing platforms, authors and illustrators connected virtually from their own homes with their audiences, offering read-alouds from living room couches, drawing tutorials from kitchen tables and writing lessons from grassy backyards and conducting interactive question-andanswer sessions from bedrooms-turned-studios. In hosting five virtual author/illustrator visits with our K-5 laboratory school across the 2020-2021 academic year, we continually noted the ways objects within an author/illustrator's space came into focus in unexpected ways, inviting children and educators to understand an author/illustrator as well as their books in deeper, more expansive ways. The specific potentialities of peritext (in picturebooks) to extend and facilitate children's literary meaning-making (Sipe, 2008; Sipe & McGuire, 2006), comprehension (McNair, 2021), understandings of relationships between text and visual images (Serafini, 2012), conversations about social justice (Kaczmarczyk & Adams, 2021), and \"aesthetic appreciation and cognitive and literary understandings\" (Pantaleo, 2003, p. 74) receive regular attention from scholars and educators, and as Martinez et al.