Fodd bynnag, mae ymwybyddiaeth y cyhoedd o batrymau mudo pysgod a'r pwysau dynol cysylltiedig yn brin o hyd. Mae niferoedd llawer o boblogaethau pysgod mudol yn gostwng, dan fygythiad pwysau sy'n deillio o weithgarwch dynol, megis colli cynefinoedd ac effaith rhwystrau megis argaeau, ffyrdd, newid defnydd tir, newid yn yr hinsawdd a llygredd ar eu cynefinoedd. A free Plain Language Summary can be found within the Supporting Information of this article. We hope that sharing our experiences and reflections is useful and inspiring for other cross‐disciplinary collaborations, and for those who aim to create learning enrichment and engagement material about ecological processes and environmental issues for young people. artistic input, ideas, science, dissemination), representing a spectrum of co‐creative practice. We also discuss how the experience shaped our thoughts about the nature of co‐creation itself, and how in creating STW, collaborators contributed to the process in multiple, nuanced and unanticipated ways (e.g. We explore some of the challenges and merits of collaborative working, consider the impacts of the COVID‐19 pandemic on the creative and initial engagement process and share what we learned about creative input, communication and respect. We chart the process of creation, including conception of ideas, writing the poem, fact‐checking and developing the storyline with scientists and creating a comic and music video with visual artists and musicians. In this article, we reflect on the co‐creation of the Shout Trout Workout (STW), a lyric poem, comic and music video for 8‐ to 14‐year‐olds, designed to entertain, engage and enrich learning about migratory fishes and aquatic environments. The collaborative and creative processes involved in developing such media often lack critique, which limits learning from previous experiences. Arts‐based methods can be particularly effective in fostering broad personal connections with nature, especially for complex topics like fish migration. Young people are also at a critical stage in their attitude formation and may be particularly receptive to learning enrichment and engagement for behaviour change about environmental issues. It is important to communicate about hard‐to‐see and complex environmental topics and issues, such as fish migration, with young people, who stand to be the most affected by ongoing global changes. However, public awareness of fish migration and associated human pressures remains limited. Many migratory fish populations are declining, threatened by human‐induced pressures such as habitat loss and fragmentation caused by dams, roads, land use change, climate change and pollution. Television media either ignores or misrepresents the subjective reality of many (particularly food) species, but with children preferring anthropomorphised animals to most others (Geerdts, Van de Walle and LoBue 2016), this carries implications in terms of responsibility for our ideas and subsequent treatment of those non-humans in everyday life. With research clear that the media is so influential, recognising the role of such culture transmission is vital to ‘undo’ unhelpful assumptions about animals that result in their exploitation, and change future norms (Joy 2009). This article investigates animal characters on three hundred and fourteen children’s TV shows across five days of ‘free’ to view UK programming during summer 2020, and is the first study in over twenty-five years (since Elizabeth Paul’s in 1996) to focus specifically on mainstream children’s TV, and the only one to have sole regard for pre- and early primary-age UK viewers. The representation and categorisation of non-humans in such content may therefore influence a culture’s attitudes towards those species and, by extension, its children’s views. It is widely accepted that television is a powerful medium and that its influence, particularly on children and young people, can be profound (see for example Canadian Paediatric Society 2003 Strasburger 2004 Matyjas 2015).
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