How can we empower preteens to become active cultural creators in the current media environment?

What if children could be the creators of their own culture, would they simply be passive consumers in the current culture?

The notion of “active culture creators” extends beyond the creation of digital content; we need to look at a broader, more inclusive understanding of culture. It could be forms of expression, traditions, community activities, and other related areas. Here are several cultural aspects that preteens can engage with and contribute to, such as performing arts – fostering an appreciation of the arts and providing a medium for self-expression; visual arts – tangible expressions of culture that help them communicate their perspectives and identities; literary arts – not only promoting literacy but also allowing preteens to share their stories and learn from the stories of others, fostering empathy and a deeper understanding of diverse life experiences.

Encouraging preteens to participate in cultural activities can foster a strong sense of identity, promote diversity, develop social skills and contribute positively to their communities. This can be achieved by providing them with opportunities and spaces to express themselves, learn about their community and that of others, and impact the world around them.

The meaning of the word ‘creator’ has been compromised?”

The term “creator” has indeed undergone significant changes over time. With the advent of social media and content-sharing platforms, the term “creator” has broadened to include various activities. Today, anyone who produces content for digital platforms can be termed a “creator,” whether posting videos, blogs, podcasts, or simply social media updates. While this democratization has opened up content creation to a broader audience, it also means the word “creator” now encompasses a wide range of quality and originality, from unique artistic contributions to everyday social media posts.

This broadened usage dilutes the term’s original meaning, as it no longer necessarily implies a significant creative process or original output. However, this might be seen as an evolution of the term, reflecting the new and diverse ways people can express themselves and share their work in the digital age.

“Adverting is not art!”

I didn’t realise I’m such an emotional one. I was about to scream, “No, it’s art.

I enjoyed my work, but there were moments when I hesitated to define myself as an artist. Due to the collaborative nature of advertising, it often requires a lot of people’s hard work and time; it’s hard to say ‘my work’, and there are times when I watch the final product, I want to say, “Who are you?

Although I may not be an artist, advertising is definitely art. The films I created were art.

I had the opportunity to contemplate my research topic by reflecting on the reasons for my upset. At work, I held the position of an “emotion” specialist. My task was to capture consumers’ attention by creating a film that triggered their emotions. This role had its positive and negative aspects. It’s hard to find words other than cowardly saying that I didn’t even have time to think about the impact that I was creating. In these situations, I had no choice but to trust my instincts.

This is the reason why I wanted to do some research here on how to make experiences that create positive messages and narratives in the media landscape with different processes. Decisions are not only made by intuitive thinking but also by logical ideas. I sensed there was something I could do. I was searching for impactful experiences that could cut through the noise in the digital media landscape of that time. It was about finding ways to use personal aspirations to foster even small changes but meaningful shifts that benefited society at large. I imagined a digital space that didn’t only captivate but also purified and motivated. That was the kind of innovation I was aiming to uncover.

Some advertisers say that advertising is not art. Should I have tried harder in this field? I now felt like I was wandering outside of my area of expertise. I disliked this sensation, so I tried for a long time to expand my territory, but I felt lost in my comfort zone.

There was a critical moment. It wasn’t spring, but I remember it like it was. I was conducting my intervention under ‘the box of uncertainty’. I aimed to provide a peaceful but retrospective moment using my “relationship ball” to let participant observe the movement of balls in the clear sphere on their hand.

One middle-aged woman showed interest in my intervention. Her eyes’ change triggered my empathy, and she slowly relayed her story. She talked about her daughter’s self-harm issues and how it has caused difficulties in their relationship.

That day, an unexpected encounter with a middle-aged woman in the street shifted the trajectory of my work, embedding it with a deeper purpose. And all it took was a shared moment, a listening ear, and a story that bridged two hearts in crowded minds.

The story was a journey through a mother’s pain, her words painting a picture of lost connections and desperate attempts to bridge an ever-widening chasm. Her daughter, once full of life, had retreated into a world where every attempt to reach her seemed to bounce off an invisible barrier. The more the woman shared, the more I realized that my project could be more than a window for looking into individuals’ inner true existence. At that moment, I felt unexplained emotions. I had to find a possible path forward, not just for her daughter but for all the other youths hidden in the shadows of their internal confusion.

In my subsequent research on youth depression and self-harm, I found that while much of the data correlated with the rise in youth depression and social media use, media use was not proven to cause adolescent depression. I was offended and felt that there was some sort of conspiracy theory going on, that someone would be ‘delusional’ to say that children were being specifically victimised in some vast world conspiracy.

Dr. Victor Fornari, the vice chair of child and adolescent psychiatry for Northwell Health, New York’s largest health system, noted that the drop in teen well-being coincided with the rise of smartphones. Although the technology’s full impact on adolescents’ mental health is still unknown, he said, there is “no question” of an association between the use of social media and the dramatic increase in suicidal behavior and depressive mood.“Kids are now vulnerable to cyberbullying and critical comments, like ‘I hate you’, ‘Nobody likes you,’” he said. “It’s like harpoons to their heart every time.”

https://www.nytimes.com/2023/02/13/health/teen-girls-sadness-suicide-violence.html

https://www.cdc.gov/healthyyouth/data/yrbs/pdf/YRBS_Data-Summary-Trends_Report2023_508.pdf

https://www.economist.com/graphic-detail/2023/05/03/suicide-rates-for-girls-are-rising-are-smartphones-to-blame

I woke up this morning with a strange feeling that “something was wrong”. After receiving feedback, including yesterday’s tutoring, I decided to include preteens the project’s beneficiaries, as experts and stakeholders in the intervention. Although involving children raises ethical considerations that need objective attention, it is simpler to demonstrate progress with them than to devise solutions with professionals. I found this approach both appealing and easy, and I felt relieved for the first time in a long time that the time of contemplation was over, and all that was left to do was execute.

First of all, I asked myself if this was due to fear of execution. My answer was no. I had already contacted the local library and received a positive response, and I had been recommended by parents (a former teacher and someone with experience working with children) to look after the children during the intervention, so it was literally a matter of taking action.

My discomfort perplexed me, and I took it as a cue to re-examine my motives. I began by contemplating why I aimed to discover a pragmatic solution with an expert team, although it was exploratory and did not involve children directly, which is a limitation of my research, leaving the children as the beneficiaries.

I don’t want to see children as data. My main objective was to avoid treating children as mere data, and I aimed to refrain from using or manipulating their emotions and cognitions to substantiate my research. Television programmes and films that claim to target children can be easily found, but some fail to consider the potential impact of their content. While children have varying levels of innate resilience, environmental factors can greatly influence them.

I approached this research project to investigate multimodal literacy for preteens, specifically how to read images. My aim was to provide children with specialist support to understand the hidden intentions and purposes of photographs and videos and to identify the media environment in which they live so that they become agents of their own culture rather than mere consumers.

However, in this current media landscape, my research’s educational nature reminded me of the tactics used by tobacco companies, like Philip Morris International, targeting students through various marketing strategies, often under the guise of educational programmes. They have run programs purportedly aimed at preventing youth smoking. However, these programs, with sponsoring corporate social responsibility (CSR) programs, actually serve to promote the brand among young people and may even encourage smoking. By presenting themselves as responsible companies caring for the well-being of children, they aim to improve their public image while subtly promoting brand awareness.

Often very sophisticated, these strategies exploit psychological and social vulnerabilities in young people, leading to positive brand associations, curiosity, and potentially the uptake of smoking. In my own experience, something similar happened. In my junior high school days, we constantly saw food companies introducing new snacks and beverages, seeking our opinions. Eager to assist the adults who appeared to ‘need our help,’ we engaged wholeheartedly, not recognizing the underlying strategy. Unbeknownst to us, we were selected as a target group to assist global brands in tailoring their products to Korean palates that hadn’t fully embraced Western flavours yet.

The message ‘Try this and let us know what you think’ serves as a method of engaging students, allowing them to voice their opinions about the brand or product, making them feel like they are part of the brand. This approach can be effective in building brand loyalty, allowing consumers to interact with the brand and feel an emotional connection to the product. However, it’s also a way to raise awareness about the product and generate word-of-mouth among consumers, functioning as part of marketing activities related to new product launches.

How will the preteens experience my intervention? Preteens are at a delicate stage of cognitive and emotional development. Their brains, being impressionable and adaptable, absorb their surroundings like a sponge. Teaching digital media education at this phase could be viewed as timely, guaranteeing that they are digitally literate and protected online. Nonetheless, the ramifications, which I am concerned about, are frequently underestimated.

As we inevitably move towards an era dominated by digital media, there is a growing need to include digital media education in the learning curriculum, even for preteens. At first glance, this educational model appears necessary, even a saviour, to equip young minds with the navigational skills necessary to navigate the digital maze into which they’ve been born. However, upon introspective evaluation of its execution, specifically for preteens, I cannot help but perceive some disturbing repercussions that follow the apparent advantages.

Excessive screen time is an immediate concern. Over the summer, I pondered ways to boost screen time quality via research and interventions. However, I have found myself caught in a loop. While digital media education is well-intentioned in teaching critical thinking, online safety, and technological skills, it inadvertently contributes to increased screen exposure. Research consistently warns us about the detrimental effects of excessive screen time on sleep, physical health, and cognitive development. We may unintentionally compromise other facets of their holistic development to create digitally savvy individuals.

In addition, preteens’ emotional and social growth may suffer. At an age where social skills and emotional intelligence are developed through face-to-face interactions and physical play, digital media education’s emphasis on virtual interaction poses a threat. We’re trading the playground for the tablet screen, and in the process, preteens may miss out on essential life skills that digital platforms simply cannot replicate.

The question remains: are preteens developmentally ready to grasp these concepts? And if not, are we exposing them to potential threats before they can understand and handle them?

Reflecting on these side effects doesn’t discredit the immense potential of digital media education for preteens. Instead, it underscores the necessity for a balanced, carefully considered approach. Digital skills are undoubtedly essential for the future, but they shouldn’t overshadow basic childhood necessities: play, social interaction, and physical activity. Perhaps the solution lies in a blended approach, integrating digital media education with traditional learning methods, thereby mitigating the side effects while preparing preteens for the digital age.

We (the side of me who wants to take action and execute ideas quickly and my more thoughtful side who prefers to take a moment to consider the situation) must ask ourselves at every juncture: are we creating a balanced learning ecosystem for our preteens, or are we tipping the scales, neglecting the very essence of childhood? The answers may not always be clear-cut, but the questions are necessary. After all, education, in any form, should first and foremost consider the child’s holistic well-being.

………

Digital and Social Media Literacy/Understanding of Content Creation/Analyzing Messages /Recognizing Techniques

Encouraging Healthy Skepticism/Creation of Counter-messages/Understanding Regulations and Rights

Empowering children through the children’s visual culture is a fascinating and multifaceted approach to fostering self-efficacy, creativity and critical thinking. A reflection on the potential of visual culture for empowering young minds of our society considers how images, narratives and media can act as a vehicle for empowerment.

Visual culture provides a tangible means for children to comprehend complex concepts. Superhero narratives found in comic books and movies can teach values such as courage, resilience and justice, for example. When children interact with these characters, they can start to view these virtues as achievable and vital to their existence. The depictions associated with such characters often emphasise their power and agency, thus serving as models for children to emulate in terms of confident and positive action.

However, the potential for empowerment through visual culture goes beyond mere consumption. It is vital for children to be both creators and consumers. When encouraged to create their own visual stories using methods such as drawing, painting or digital tools, children are not solely developing their motor skills or expressing their emotions. They are also acquiring the ability to control their environment and project their own voice into the world. Active participation is crucial in visual culture as it transforms children from being passive consumers to active, empowered creators.

Critically, visual culture can reflect diversity and inclusivity. When children see themselves represented in the stories and images they consume it validates their experiences and identities, empowering them. This representation acknowledges their existence and importance within the societal narrative. When a young girl observes a woman scientist in a children’s literature, or when a child from a minority sees a hero who physically resembles them, it confronts the limitations they may unconsciously accept about who they can become.

However, there is a warning: the commercial aspect of children’s visual culture often prioritises profit over empowerment. Therefore, it is crucial to view this field with a sensitive eye. Educators and parents can guide children to engage with visual culture in ways that maximise its empowering potential. This can include discussing the motivations behind certain visual representations or encouraging children to question and analyse the media they consume.

Additionally, teachers can integrate visual culture into the classroom to enhance the learning experience. For example, using a historical film or a science animation can create a more engaging and relatable learning experience. This is not solely about making learning ‘fun’, but about using visual storytelling to enable a deeper understanding and connection with the subject matter.

In my reflective practice, I find that empowering children through visual culture requires a balance. It is about providing them with the tools to decode the images and messages they encounter, as well as the freedom to create and see their own experiences reflected in the visual narratives around them. By embracing these principles, we can foster a generation that is confident in its ability to contribute to and transform the visual culture landscape, ensuring that it is an inclusive, dynamic and empowering space for all.

To reiterate, children’s visual culture isn’t just about the images we present to our young people; it’s about how we teach them to interpret and create those images. If used intentionally and conscientiously, it can be an immensely powerful tool for empowerment.

Bibliography.

Buckingham, D. (1998a). Introduction: Fantasies of empowerment? Radical pedagogy and popular culture. In D. Buckingham (Ed.), Teaching popular culture: Beyond radical pedagogy. London: UCL Press.

Duncum, P. (2004). Visual culture isn’t just visual: Multiliteracy, multimodality and meaning. Studies in art education.

Häikiö, T. K. (2018) “Cultural participation for, with and by children – Enhancing children’s agency through art pedagogy, visual knowledge-building and learning”, Nordic Journal of Art & Research, 7(1), p. 19. doi: 10.7577/information.v7i1.2630.

Wilson, B. (2004). Child art after modernism: Visual culture and new narratives. Handbook of research and policy in art education, 299-328.

Wilson, B., & Thompson, C. M. (2007). Pedagogy and the visual culture of children and youth. Visual Arts Research.

I tried to figure out how to present the Korean feedback in English. I wanted to convey a clear message with meaning.

The language takes root and absorbs everything in the world. It may be that language is not expressing, but condensing. Not the fruit of the tongue. The unexpressed words will remain somewhere in me and create something.

When I give a presentation, my native language is there as a shadow. It sometimes darkens my mind. Yet, without the shadow, the entity is not fully perceived.

Native tongue, a shadow it’s deemed,
A silhouette of thoughts, silently teamed.

In every word, in every shade,
A piece of our being, in light displayed.

Shadow and light, dance of divergent tongues,
One gazes at the real, the other dreams among.

…

Preteens today should not simply remain passive consumers but become active creators. It is not limited to individuals producing content on digital platforms. Instead, it encompasses preteens who understand their world, possesses the ability to express themselves and establish their own cultural standards as autonomous creators. They have the potential to create their own culture independently. It represents preteens who do not merely exist as child characters in content to be exploited or consumed. They could develop their own narratives. They are creators and innovators leading creative lives in this age of digital liminality. Therefore, adults, educators, and society must provide guidelines and education for safe participation. Recognising their potential is critical, as they are the future architects of our digital world.

Resilience has become an essential element that children must cultivate. The foundation of online resilience, digital literacy, is not merely about understanding how to use digital tools and platforms; it also encompasses a critical understanding of the digital environment. In today’s world, where misinformation and fake news are rampant, the ability to discern credible information from false or misleading content is crucial. My journey in developing digital literacy for children has been ongoing, requiring constant adaptation to the evolving digital landscape.

The digital world, with its immediacy and often anonymous interactions, can be a hotbed for emotional reactivity. I have experienced firsthand how easy it is to get swept up in the heat of online debates or feel overwhelmed by the barrage of information and opinions. Developing emotional regulation has been a key step in maintaining children’s mental well-being. This has involved recognizing teens’ emotional triggers and learning to pause and reflect before responding to provocative content or engaging in online discussions.

Setting healthy boundaries is integral to online resilience. This means being mindful of how much time children spend online and the quality of their digital interactions. I have learned the importance of disconnecting and engaging in offline activities, recognising that constant connectivity can lead to digital burnout. Establishing these boundaries has not only improved mental health but has also enriched real-life relationships and productivity. It’s about finding a balance.

Finally, self-awareness has been a crucial component in building online resilience. Understanding vulnerabilities, such as a tendency to compare with others on social media or getting too immersed in the digital world, might help navigate online more wisely. This awareness tailors people’s online experience to what is beneficial and positive. It involves regularly reflecting on their online habits, the content they consume, and how these influence their mood and self-perception.

“Digital literacy serve as potential safeguards for young people against harmful consequences of negative online experiences”

Digital literacy and online resilience as facilitators of young people’s wellbeing? A systematic review

https://eprints.lse.ac.uk/115036/1/Preprint_Vissenbergetal_DigitalLiteracyResilienceWellbeing.pdf

Reference:

Vissenberg, J., d’Haenens, L., & Livingstone, S. (2022). Digital literacy and online
resilience as facilitators of young people’s wellbeing? A systematic review. European
Psychologist, 27(2), 76-85. doi:10.1027/1016-9040/a000478

In today’s digital age, our children’s environment is vastly different to that of only a decade ago. They are exposed to a complex web of digital content, platforms and interactions. This presents both opportunities and threats. Thus, the age-old idea of the social contract emphasising the balance between individual rights and societal duties is worthy of reexamination.

Traditional social contract theorists, such as Hobbes, Locke, Rousseau, and Kant, focused mainly on the relationship between the state and the individual. Their interpretations of human existence in a natural state varied; while some viewed it as “brutish and short,” others believed it to be “peaceful and free.” The consensus, however, was that an organized society in the form of a state was necessary to ensure some semblance of order. The digital age, which involves a multitude of stakeholders, including governments, corporations, individuals and diverse communities, presents complexities that these philosophers could never have imagined.

The protection of children in this new realm calls for a nuanced equilibrium between individual rights and societal responsibilities. While it is crucial to afford children autonomy to explore and learn from the internet’s vast resources, their mental, emotional and physical safety online must be a top priority. The theories of Locke, who emphasised natural rights and Kant, who proposed the concept of moral autonomy, lend support to modern interpretations of children’s access to digital media being a right, but with the necessary precautions.

Digital platform and service providers, the behemoths of our age, play a critical role. While primarily profit-driven, these entities gradually acknowledge and act upon their social responsibilities. As significant players with considerable societal influence, they are no longer just business entities in the eyes of the modern social contract. Just as governments are expected to protect their citizens, these corporations are responsible for ensuring their platforms’ safety, particularly for their most vulnerable users, such as children. They should take proactive steps and create robust systems to prevent cyberbullying, exposure to harmful content and other digital threats.

This brings us to the state and the global community, which hold the responsibility of creating, revising and enforcing appropriate regulations that define the boundaries of digital engagement for children. Whilst prioritising child protection, it is important to avoid hampering innovation and accessibility. The global nature of the digital realm means that collaborative efforts are key.

Furthermore, regulations and corporate responsibility, although imperative, cannot alone address challenges in the modern social contract of the digital age. Instead, it is a shared responsibility with families, educators and communities also playing vital roles. It is imperative to provide children with the requisite knowledge and tools to identify potential threats, comprehend the importance of privacy, and cultivate digital literacy.

Ultimately, the digital age’s social contract represents a shared endeavour that goes beyond established conventions. While our ancient philosophers established the groundwork, it is our obligation to adapt their ideologies to the current digital landscape. It is imperative to regularly review and amend this agreement in order to maintain a secure and enhancing digital space for our children.

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Preteen’s risk and opportunity as media audiences.

The UK Council for Child Internet Safety -> the UK Council for Internet Safety (UKCIS)

https://www.gov.uk/government/organisations/uk-council-for-internet-safety

Protecting children from adult-oriented content in books, music, films and other media is an important concern for many parents and guardians. Though what is “appropriate” can vary greatly depending on cultural, religious and individual family values, general guidelines and steps can be taken to protect children from potentially harmful content. Accordingly, for social media or short-form content, it is necessary to establish distinct restrictions on what is permitted and what is forbidden. This complex issue can depend on factors such as screen time limits or the nature of the content. It’s important to note that a significant amount of high-quality content is aimed specifically at children. Another factor is a lack of parental oversight.

However, it’s also true that age restrictions for social networking sites and other online platforms are often ignored. This can be due to social pressure from peers already using a particular platform, which can lead younger users to create accounts in contravention of age restrictions. Some parents or guardians could permit their children to use platforms despite being below the age limit due to neglect or unawareness of the platform content.

Completely shielding children may not be as productive as educating them about media and equipping them with the necessary tools to navigate it. As individuals mature, they will invariably encounter an extensive range of content. It is advantageous for them to possess the skills required to comprehend and interpret it in a sophisticated and knowledgeable capacity.

I remembered a short film from almost a decade ago. Experts, what a shallow title we spend so much time and effort earning. What are we doing?

The third intervention, a dialogue between the videographer and Korean primary school teachers, has been postponed twice. I should consider alternative approaches.

The death of a young teacher, the evil hearts that stopped that youth. A teacher said, “I will not live in shame anymore.” if we endured as teachers, everything would be fine, but it was not. Sadly, individuals with kind and compassionate hearts were harmed and left this world with nowhere to go.

Their suicide is not a weakness, running away and giving up. It is their last cry. It’s a story we need to hear. One by one, the unjust and sad stories began to be revealed, and the teachers who had studied diligently and excellently for most of their teenage years began their first rebellion in their adult lives to seek the right to teach children properly.

Many teachers gathered to commemorate the deaths and cry out for the right to teach. How would I respond?

https://www.bbc.co.uk/news/world-asia-66655572

Blended Reality

It seems that AR and VR are now outdated; the days of being excited about new things are over, and the bar is being set higher and higher for what we expect from the new technology.

I still feel like there is potential to expand and enhance our experience with the development and application of technology in various fields; it’s not just about our physical ability to perceive.

In general, Blended Reality is a term that combines the digital and physical worlds to create new environments and visualisations where physical and digital objects coexist and interact in real time. It goes beyond the paradigms of Augmented Reality (AR) and Virtual Reality (VR) to create a seamless integration between the digital and real worlds.

In fact, the reality we experience in our day-to-day lives is a type of “mixed reality” because it is shaped by a combination of senses, perceptions, and individual experiences. Our senses, emotions, culture, and social background can distort reality, resulting in different interpretations. However, what about the reality we encounter in the digital environment we call the online world without the aid of specific devices?

In the digital realm, especially online, the nature of reality becomes fascinating. Though the digital realm is often described as ‘virtual’, experiences within it feel ‘real’ to many. Consequently, online experiences possess qualities that are similar to those of our physical world.

Currently, the line between digital and physical realities is becoming increasingly blurred. It’s common for relationships that start online to transition into offline meet-ups or for offline experiences to be shared online, showcasing a deep intertwining of the two realms.

In the future, we’re gonna get so advanced that we can have an implant digital devices, we can upgrade our senses, have more strength.. However, many of these technologies are expensive. We need to embrace these new technologies and strive for a balanced development without dismissing the technologies that everyone currently enjoys as outdated. Art is an essential break in life and something we should all enjoy. What is something here.

Interactive devices installed behind the scenes create a very powerful interplay between how technology reads the body and how it personalises the interactions for the individual. And it would be really nice if there was a step forward where the devices could be a more collective experience together. They will help us connect with each other and share our emotions, making our future world a much brighter place.

The more devices enable seamless, continuous transmission of information without having to interact with them, the more we have truly advanced in a way that benefits human connectivity and experience.

digital identity/ seamless experience / big tech’s data collection problems/

Is the belief that we can quantify and measure everything valid?

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Varela, F. J., Thompson, E., & Rosch, E. (2017). The embodied mind, revised edition: Cognitive science and human experience. MIT press.

Galloway, A. R. (2012). The interface effect. Polity.

McLuhan, M. (1994). Understanding media: The extensions of man. MIT press.

Logan, R. K. (2010). Understanding new media: extending Marshall McLuhan. Peter Lang.

How can we support preteen’s multimodal literacy and empower them to become active creators in today’s media environment?

Preteens, those who are transitioning from childhood to adolescence, are at a critical stage in their lives, one that is intensified by today’s digital age. Their journey is unique; not only are they experiencing the hormonal and emotional changes typical of their age, but they are also deeply embedded in the world of screens, apps and online platforms. This connection to the digital realm gives them a pivotal role: they are no longer just consumers but becoming ‘active creators’.

The term ‘active creators’ isn’t limited to those who simply produce content on digital platforms. It’s broader and deeper. On the brink of their teenage years, these young people have an intrinsic understanding of the digital world they are growing up in. They’re not just engaging with it; they’re shaping it, carving out their own niche. They are creating narratives, expressing thoughts and establishing cultural norms all on their own. Contrary to the traditional view of children as mere recipients of information or as characters to be used in content, today’s preteens are storytellers in their own right. Though not always sophisticated or polished, their stories reflect their perceptions, dreams and aspirations. It’s a testament to their innovative and creative spirit, which is particularly evident in this age of digital liminality.

Yet, as these preteens enter the digital frontier, they face challenges that previous generations didn’t. From concerns regarding online safety to the dangers of misinformation, the digital landscape, while teeming with potential, is full of pitfalls. This is where adults, parents, educators, and wider society play an essential role. Recognising the potential and vulnerabilities of these young creators, it is our collective responsibility to guide, nurture and protect them. This involves creating robust guidelines, ensuring safe digital participation, and providing necessary education so they are empowered to discern and make decisions.

The pressing issues this age group faces in the digital world cannot be ignored. Digital platforms, with their algorithms and extensive reach, can affect young minds. Therefore, it is crucial for adults to intervene. By understanding the digital realm, we can prepare them well to navigate it. It is essential to encourage creativity and guarantee that their online experience is secure, informed and positive.

In conclusion, preteens are at an unprecedented crossroads. They are tasked with balancing the energy of youth with the understanding of impending adulthood and are the ones who will shape the future. As they merge their offline lives with their online personas, they become a vital force that can reshape our world. Given this, it is high time that we prioritise their needs, invest in their digital literacy and promote them as the true creators of tomorrow.

https://childmind.org/article/what-parents-should-know-about-tweens/

https://www.screenagersmovie.com/

https://www.childdisrupted.com/

Being 12: The Year Everything Changes

https://www.healthline.com/health/understanding-tweens-a-transformative-age