In the present educational climate, in which emergent bilingual students are often viewed through a lens of deficit and remediation, and arts education is increasingly pushed out of the curriculum to make way for text preparation (Au, 2007), Art as a Way of Talking for Emergent Bilingual Youth: A Foundation for Literacy in PreK-12 Schools provides a much-needed counterpoint. In this volume, editors Berta Rosa Berriz, Amanda Claudia Wager, and Vivian Maria Poey collect 12 chapters, authored by researchers and teachers, which provide the reader with diverse visions of how artsbased education can foster playful, imaginative spaces in the classroom and allow students to explore fuller communicative repertoires (Faltis, 2019). The chapters document how educators can draw on students’ cultural and language practices in ways that expand and sustain these practices, all the while inviting creative exploration of print-based and multimodal literacies. This anthology frames emergent bilingual students as coming from a place of deep cultural and linguistic wealth, and models how teachers can draw upon their funds of knowledge and enact culturally sustaining pedagogies both during the school day and in extracurricular programs. Several important themes emerge throughout Art as a Way of Talking for Emergent Bilingual Youth. One is the positioning of students’ home languages as an asset in their language learning journeys, and as worth developing in their own right. The studies in this book took place in a variety of locations, including bilingual, dual-language, and “English-only” settings, highlighting the importance of fostering translanguaging practices in all contexts in which multilingual students attend school. Also, the authors discuss the significance of welcoming all students’ languages into their writing, discussion, and artwork. Starting in the introduction of the book, the editors position multilingual and arts-based education as politically contested ground. The editors then invite readers to advocate for their students throughout the rest of the book, by organizing multiple authors and voices to describe the political nature of this kind of work. Through the framing of the final section, the editors make a case that, as students develop their literacies, they can also develop personal and political agency in the classroom. The volume begins with a foreword by Sonia Nieto, who contextualizes one of the problems the book sets out to address in no uncertain terms: “Emergent bilinguals are too often left with the ‘scraps’ of pedagogy in the quest to provide them with a rigorous education” (p. xi). Nieto goes on to discuss the potential of critical arts education to counter that disheartening trend. Berriz, Wager, and Poey then include a preface that gives an overview of the three sections of the book and briefly summarizes each chapter. In the introduction that follows, the editors make the choice to begin by introducing themselves and their own language and family stories, foregrounding their positionalities as important to understanding their work. They then frame the volume’s focus on the arts by using the metaphor of “windows and mirrors” (Style, 1996) and explaining that, “It is through art that we are able to access and honor authentic stories, lived experiences, and knowledge of diverse peoples” (p. 11). They connect the importance of art to a broad understanding of literacy, through a focus on arts-based multiliteracies and multimodality. Additionally, they frame the volume by discussing the importance of fostering students’ home language use, bilingual language development,

中文翻译：

---

艺术作为新兴双语青年的一种谈话方式：PreK-12 学校扫盲的基础，作者：Berriz, BR, Wagner, AC 和 Poey, VM

在当前的教育环境中，新兴的双语学生经常被视为缺陷和补救的镜头，艺术教育越来越多地被排除在课程之外，为文本准备让路（Au，2007），艺术作为一种谈话方式为新兴双语青年：PreK-12 学校扫盲基金会提供了一个急需的对位点。在本卷中，编辑 Berta Rosa Berriz、Amanda Claudia Wager 和 Vivian Maria Poey 收集了由研究人员和教师撰写的 12 章，为读者提供了关于艺术教育如何在课堂中培养有趣、富有想象力的空间并让学生探索更完整的交际曲目（Faltis，2019）。这些章节记录了教育工作者如何以扩展和维持这些实践的方式借鉴学生的文化和语言实践，同时邀请对基于印刷品和多模式文学的创造性探索。这本选集将初出茅庐的双语学生描述为来自一个拥有深厚文化和语言财富的地方，并模拟了教师如何利用他们的知识资金并在上课日和课外计划中制定文化支持的教学法。艺术中出现了几个重要的主题，作为新兴双语青年的一种谈话方式。一是将学生的母语定位为他们语言学习旅程中的一项资产，并且作为他们自己的权利值得发展。本书中的研究发生在多个地点，包括双语、双语、和“纯英语”环境，强调了在多语种学生上学的所有环境中培养跨语言实践的重要性。此外，作者还讨论了欢迎所有学生的语言进入他们的写作、讨论和艺术作品的重要性。从本书的介绍开始，编辑们将多语言和艺术教育定位为政治上有争议的地方。然后，编辑邀请读者通过组织多位作者和声音来描述这类作品的政治性质，在本书的其余部分为他们的学生代言。通过最后一节的框架，编辑们提出了一个案例，当学生发展他们的素养时，他们也可以在课堂上发展个人和政治能动性。本书以索尼娅·涅托 (Sonia Nieto) 的前言开头，谁将这本书着手解决的问题之一置于语境中，并毫不含糊地说：“在寻求为他们提供严格教育的过程中，初出茅庐的双语者往往只剩下教学法的‘碎片’”（第 11 页）。涅托继续讨论批判性艺术教育在应对这种令人沮丧的趋势方面的潜力。Berriz、Wager 和 Poey 然后在前言中概述了本书的三个部分，并简要总结了每一章。在接下来的介绍中，编辑们选择首先介绍他们自己和他们自己的语言和家庭故事，将他们的立场作为理解他们工作的重要前提。然后，他们通过使用“窗户和镜子”（Style，1996）的比喻，将这本书的重点放在艺术上，并解释说，“通过艺术，我们能够接触和尊重不同民族的真实故事、生活经历和知识”（第 11 页）。他们通过关注以艺术为基础的多文化和多模态，将艺术的重要性与对文化的广泛理解联系起来。此外，他们通过讨论培养学生使用母语、双语发展、