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<\/figure><\/div>\n\n\n\nThis year, I was on the ALSC Notable Children’s Recordings Committee<\/a>. <\/strong>What an honor it was. Training for a half marathon was a helpful activity to complete the over 1,000 listening hours each member was assigned this year! <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n\n\n\n\n So, what was it like to serve on this committee?<\/strong><\/p>\n\n\n\n Before this year, I loved the experience of listening to audiobooks (and yes, <\/em>listening to audiobooks is <\/em>reading!) Over the course of the term, I learned about being a critical listener of both audiobooks and music. The committee has specific evaluation criteria, but here are some things to consider when listening:<\/p>\n\n\n\n One of the most important questions: <\/strong><\/p>\n\n\n\n Is the recording culturally authentic? Is it inclusive and equitable? <\/strong>Meaning, does the performer avoid condescending vocal mannerisms, stereotypes, and style? If a dialect is used, is it accurate? <\/strong><\/p>\n\n\n\n As a white woman, I recognize the system we live in, and that I have privilege and biases. Thorough research was required to evaluate recordings. Who is the performer? Are they from the same culture as the character? What other recordings have they done? Are pronunciations correct, according to trusted sources? Is the music credible, according to the culture? <\/p>\n\n\n\n Recording evaluation, like any evaluation, requires constant analysis of our own biases, being intentionally anti-racist, and having cultural humility. <\/p>\n\n\n\n
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