6. Resemiotisation and Creative Production: Extending the Translanguaging Lens

Moving beyond language(s): a case study on a newcomer’s translanguaging practices

“…His singing testified to his creativity and linguistic competence and allowed him to make connections between the curriculum, his funds of knowledge and identity (Esteban-Guitart and Moll 2014), and to mark his identity as a creative language user (Li Wei 2018). These findings corroborate those of Bradley and Moore (2018) who analysed the ways in which teenagers wrote poems in an after-school workshop in Leeds. They revealed how a bilingual girl brought together music and oral and written text and with the help of other participants transformed a hand-written poem into a digital version and then a song.…”

“…His use of songs in Science and French lessons was particularly noteworthy as it illustrates his ability to process the linguistic input in science and French lessons, 'translate' it into a different mode and modality, and communicate it to friends. In this resemiotising process (Bradley andMoore 2018, Li Wei 2018), Harry reinterpreted signs and created new meanings. His singing testified to his creativity and linguistic competence and allowed him to make connections between the curriculum, his funds of knowledge and identity (Esteban-Guitart and Moll 2014), and to mark his identity as a creative language user (Li Wei 2018).…”

Epilogue: Intercultural dialogue, the arts, and (im)possibilities

“…Transrational pedagogy decentres the mind, which means recognizing its limits, acknowledging its constructedness, and opening up to a world of knowing beyond and besides the mind. It means acknowledging that students’ knowing is bound up with their material and metaphysical experience, or what Karen Barad calls the onto-epistemological entanglements of learning (Barad, 2014; see also Bradley, 2018; Harvey, McCormick & Vanden, 2019). A transrational framework offers the possibility to engage with the aspects of knowing and learning which cannot be understood in the cognitive sense, and in this it can contribute to unsettling the dominant, mind-centric forms and systems of knowing in the global centres of power (see Harvey et al, 2021).…”

14 Visual Representations of Multilingualism: Exploring Aesthetic Approaches to Communication in a Fine Art Context

“…In addition, Jessica had worked extensively with creative practitioners for her doctoral research had considered translation and translanguaging practices in community arts production and performance (Bradley, 2018) and the idea for the competition fitted well with the intellectual focus of a number of her own research projects. Jessica invited Louise (chapter co-author), an artist-researcher with whom she had collaborated on a series of artsbased language-focused projects, including participatory research around linguistic landscapes (Bradley et al, 2018;Bradley & Atkinson, 2020) through which they were exploring the intersections of language and the arts in educational contexts. Louise was interested in being involved in the competition as it represented a way for artists and applied linguists to work together on shared, interdisciplinary projects.…”

“…Translanguaging as pedagogy also seeks to address the hierarchies often both implicit and explicit in education which separate 'elite multilingualism' from what might be called 'multilingualism from below' (Baynham & Lee, 2019). Our use of translanguaging within the context of this project also stems from its possibilities to move beyond language to incorporate the visual and the embodied (Bradley & Moore, 2018).…”