Models of digital storytelling
The term 'digital story' is used in many different ways in relation to the production of media. Some technical analysis (e.g. Nora Paul and Christine Flebich's site) risks fragmenting the 'elements' and missing the point of the story process. The 'proper' process originated in California and involves an intensive, collaborative workshop to develop each person's story and allow for practice with individual, technical skills so that voice, pictures, words and music are integrated authentically in each person's digital story. Most examples provided below show the use of digital stories for social justice in the public sector and in education. There are a few examples of more 'marketing' oriented use: for example, this article in Business Week. Please post here or contact Jo if you find links to digital stories that are used for appreciative, organisational change or if you are interested in developing storytelling for broader change purposes.
The approach developed in California emphasises a story's brevity and structure in ways that faciliate personal voice and the development of skills. "Many of the stories made in our workshops are directly connected to the images collected in life's journey. But our primary concern is encouraging thoughtful and emotionally direct writing."
Nick Noakes worked with this centre to produce the digital story that is hiding elsewhere in this wiki.
A small organisation based in Cambridge follows the same process and works with the Centre for Digital Storytelling. Pip and Tony offer an experience of digital stortytelling and also support for developing skills in facilitation, based on their own experiences of working in health, education and social care fields. Digital stories, developed through a carefully developed methodology, are exemplified in the Patients Voices programme, which facilitates the telling and sharing of stories of care by all stakeholders. The innovative model of free distribution of resulting stories for use in health and social care education and quality improvement ensures that those voices are heard, and that the investment of storytellers is nurtured to develop maximum social capital.
Jo Tait worked with Pilgrim and with University of Gloucestershire team to produce her second digital story - a story of Fellowship. This is an example of a story with a purpose within a particular context for a specific group. It may not have the same impact for an external audience but Jo affirms the powerful processes involved in writing the story, selecting the pictures and watching the 'finished' product with the group concerned.
be good.wmv
Everyone has a story to tell. All over Wales, people are making Digital Stories about real-life experiences and each story is as individual as the person who made it. Each Digital Story is made by the storyteller themself, using his or her own photos, words and voice.
Assessing Complex Stories
At the workshop on Digital Storytelling at the University of Gloucestershire we were shown some interesting examples of stories. The process was reasonably open, and some of the results were facinating, and quite unexpected. This was both an opportunity (for innovation and creativity) and a problem (within a pre-set outcomes-based assessment system).
However, if we approach assessment within complexity theory, we can make the assessment as open as the story process, and still achieve rigorous assessment, based on recorded evidence. Here are some thoughts on how this can be done.
We may have reservations about assessing digital storytelling. (I, Jo, certainly do). But Daniel Meadows runs modules for a Masters in Citizen Media at Cardiff - the assessment criteria seem clear enough, because the topic is directly relevant. There are some very powerful examples of international stories, here.
Check out this link to see how digital storytelling can be used in e-Portfolios. Is this becoming too structured?
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