towards the development of digital storytelling models for use in resource-poor environments and...
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Presentation at HELTASA 2012TRANSCRIPT
Towards the development of digital storytelling models for use
in resource-poor environments and across disciplines to activate
student’ social and cultural capital
Daniela Gachago, Eunice Ivala, Veronica Barnes, Penny Gill, Joseline Felix-Minnaar, Jolanda Morkel and Nazma Vajat
Cape Peninsula University of Technology
Digital storytelling in Education
• Digital stories are short movie clips, created with off-the-shelf equipment and software, combining text, images, videos, music and narration (Lundby, 2008).
• Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).
Digital storytelling in Education
• Digital stories are short movie clips, created with off-the-shelf equipment and software, combining text, images, videos, music and narration (Lundby, 2008).
• Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).
Digital storytelling in Education
• Digital stories are short movie clips, created with off-the-shelf equipment and software, combining text, images, videos, music and narration (Lundby, 2008).
• Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).
Personal stories - purpose
• Potential to transform pedagogical practices and to provide opportunities for new knowledge building and identities (Scott Nixon, 2009).
• Critical reflection
• Contextualising / transfer of knowledge between academic and community settings
Digital storytelling in Education
• Digital stories are short movie clips, created with off-the-shelf equipment and software, combining text, images, videos, music and narration (Lundby, 2008).
• Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).
Content based stories - purpose
• Replacing traditional essay assignments
• Particularly suitable approach for teaching students from non-traditional educational backgrounds,
• and/or those for whom academic literacy and plagiarism is a challenge (Barnes, Gachago, & Ivala, 2012; Clarke & Thomas, 2012).
• Authentic Learning opportunities (Herrington et al. 2010)
Digital storytelling in Education
• Digital stories are short movie clips, created with off-the-shelf equipment and software, combining text, images, videos, music and narration (Lundby, 2008).
• Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).
Research on Digital storytelling
• Research mainly in research rich environments, focus on giving voice to marginalised groups
• What’s missing? Digital storytelling in resource poor environment
1st year Industrial Design Students
Get pc version from Daniela
Context of CPUT
• Diverse learners (age, gender, race, economic backgrounds)
• Diverse preparedness for tertiary education
• Diverse access to resources
Course name
Gender Age Race
F M Under 21
22-30 Over 30 White Black African
Coloured Indian
ArchTech 39% 61% 96% 4% 0% 0 54% 42% 4%
Nursing 89% 11% 11% 46% 43% 0 54% 46% 0
Design 44% 56% 72% 24% 4% 83% 2% 15% 0
Food Tech
69% 31% 32% 60% 8% 23% 79% 16% 1%
Courses involved
Course name
Gender Age Race
F M Under 21
22-30 Over 30 White Black African
Coloured Indian
ArchTech 39% 61% 96% 4% 0% 0 54% 42% 4%
Nursing 89% 11% 11% 46% 43% 0 54% 46% 0
Design 44% 56% 72% 24% 4% 83% 2% 15% 0
Food Tech
69% 31% 32% 60% 8% 23% 79% 16% 1%
Courses involved
Digital storytelling in Education
• Digital stories are short movie clips, created with off-the-shelf equipment and software, combining text, images, videos, music and narration (Lundby, 2008).
• Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).
Social and cultural capital
• Bourdieu (1986): social and cultural capital determine students educational success
• Slightly deterministic view of social reproduction
• Critiques: how do students activate these capitals? What capitals are we talking about? (Lareau & McNamara Horvath 1999, Yosso 2005)
Digital storytelling in Education
• Digital stories are short movie clips, created with off-the-shelf equipment and software, combining text, images, videos, music and narration (Lundby, 2008).
• Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).
South African context
These differences in students’ cultural capital
reflect the legacy of Apartheid. In today’s South
Africa, race and language still plays a significant
role in determining educational and economic
privilege, with white students speaking English
or Afrikaans tending to be the most privileged
(Leibowitz et al 2010).
the Study
• RIFTAL funded
• Collaboration between Fundani and various academics
• Exploring use of digital stories across disciplines
• And with differently positioned students and for different learning purposes
• RIFTAL funded
• Collaboration between Fundani and various academics
• Exploring use of digital stories across disciplines
• And with differently positioned students and for different learning purposes
Mobile learning and digital stories
Mobile learning and digital stories
Courses involved
Courses involved
Courses involved
Courses involved
Courses involved
Course models of DST projects
1st year ECP Nursing students
Methodology
• Mixed methods
• Quantitative survey, statistical tests
• Focus groups for explicating findings
• Mixed methods
• Quantitative survey, statistical tests
• Focus groups for explicating findings
Findings
1. Do students’ backgrounds matter?
2. How do students perceive model used (support etc)?
3. How did they enjoy the project? How happy are they with results?
1. Do students’ backgrounds matter?
2. How do students perceive model used (support etc)?
3. How did they enjoy the project? How happy are they with results?
Findings
Findings
Findings
“… the whole time I had no idea what I was going to do because I didn’t know this digital story. I asked myself how are we going to do this because we don’t have an idea.”
I used iMovie …but it’s similar to PhotoStory …it’s got nice transitions… you could use text sliding… with the music you are able to fade out your music & add in new music & transitions. So I enjoyed it – I thought PhotoStory
was very limiting.
Findings
Findings
Findings
You guys really carried us throughout the process, from the initiation when we had to do our story development; you guys really gave us personal attention to what our story was about. So I think from
the onset we, we were nurtured hey?
Just to review the outcome really, [lecturer
and facilitator role] so very little input actually on how we were able to or going to approach our subject matter.
Findings
… we don’t have Internet at home....it was actually difficult –you have to do something which you need the Internet for… you may have a little or no information … You couldn’t
contribute to your group work. …the people who don’t know computers … for sure sometimes
[we feel] as if we are isolated…
Findings
Findings
Findings
“The moment I saw it coming I started seeing mistakes, oh I could have done that better. I could have done that better because I
saw especially when I saw other people’s videos, then I started seeing oh I could have improved that and that but ja I was proud, but not very proud.”
Discussion
• Product vs Process “What set digital
storytelling apart are really the process and the purpose” (Tacchi 2009: 171).
• Diverse settings with diverse students
need “high degree of versatility, adaptability, and flexibility in the format and practice of creating the stories”. (Clarke 2009: 151)
• Product vs Process “What set digital
storytelling apart are really the process and the purpose” (Tacchi 2009: 171).
• Diverse settings with diverse students
need “high degree of versatility, adaptability, and flexibility in the format and practice of creating the stories”. (Clarke 2009: 151)
Vernacular Literacies
Burgess (2006, p. 210): “vernacular literacies –
skills and competencies that cannot simply be
reduced to cultural capital or an ‘artistic’
education, but that instead exploit
competencies built up through everyday
experience, especially experience [acquired]
as a mass media consumer.”
Alternative social and cultural capitals
• Digital stories to cross the divide
between formal and informal learning
• Opportunity for students to draw on
alternative social & cultural
capitals, such as rich oral storytelling
tradition, rich life experience, or digital
literacies. (Yosso 2005)
Conclusions
• Digital storytelling is viable in various settings
provided you chose the right model• Use of technologies that are easily
accessible to students (mobile technologies)
• Don’t underestimate resourcefulness of
students, but also provide necessary support and resources where needed
1st Year ECP Architectural Technology
CPUTstories YouTube channel
References
Barrett, H. (2006). Digital Stories in ePortfolios: Multiple Purposes and Tools. Retrieved January 25, 2011, from http://electronicportfolios.org/digistory/purposes.htmlBozalek, V. (2011). Acknowledging privilege through encounters with difference: Participatory Learning and Action techniques for decolonising methodologies in Southern contexts. International Journal of Social Research Methodology, 14(6), 469–484.Burgess, J. (2006). Hearing ordinary voices: cultural studies, vernacular creativity and digital storytelling. Continuum: Journal of Medai & Cultural Studies, 20(2), 201–214. doi:10.1016/S0190-9622(06)01179-0Clarke, M. A. (2009). Developing digital storytelling in Brazil. In J. Hartley & K. McWilliam (Eds.), Story Circle: Digital Storytelling around the world (pp. 144–154). Chichester: Wiley-Blackwell.Clarke, R. G. H., & Thomas, S. (2012). Digital Narrative and the Humanities: An Evaluation of the Use of Digital Storytelling in an Australian Undergraduate Literary Studies Program. Higher Education Studies, 2(3), 30–43. doi:10.5539/hes.v2n3p30Donner, J. (2009a). Blurring Livelihoods and Lives: The Social Uses of Mobile Phones and Socioeconomic Development. Innovations: Technology, Governance, Globalization, 4(1), 91–101. Retrieved from http://research.microsoft.com/pubs/80461/INNOVATIONS-4.1_Donner.pdfDonner, J. (2009b). Mobile-based livelihood services in Africa: pilots and early deployments (M. Fernánd., pp. 37–58). Barcelona: IN3. Retrieved from http://in3.uoc.edu/web/PDF/communication-technologies-in-latin-america-and-africa/Chapter_01_Donner.pdfLareau, A., & McNamara Horvath, E. (1999). Moments of social inclusion and exclusion: race , class , and cultural capital in family school relationships. Sociology of Education, 72(1), 37.Lundby, K. (2009). The matrices of digital storytelling: examples from Scandinavia. In J. Hartley & K. McWilliam (Eds.), Story Circle: Digital Storytelling around the world (pp. 176–187). Malden, MA: Wiley-Blackwell.Mills, K. A. (2010). A Review of the Digital Turn’' in the New Literacy Studies. Review of Educational Research, 80(2), 246–271. Retrieved from http://rer.sagepub.com/content/80/2/246.full.pdf+htmlReitmaier, T., Bidwell, N. J., & Marsden, G. (2010). Field Testing Mobile Digital Storytelling Software in Rural Kenya, 283–286.Reitmaier, T., Bidwell, N. J., & Marsden, G. (2012). Situating Digital Storytelling within African Communities, 1–17.Scott, I., Yeld, N., & Hendry, J. (2007). Higher Education Monitor A case for Improving Teaching and Learning in South African Higher Education. Higher Education. Retrieved from http://www.che.ac.za/documents/d000155/HE_Monitor_6_ITLS_Oct2007.pdfTacchi, J. A. (2009). Finding a voice: digital storytelling as participatory development in Southeast Asia. In J. Hartley & K. McWilliam (Eds.), Story Circle: Digital Storytelling around the world. Chichester: Wiley-Blackwell.Yosso, T. J. (2005). Whose culture has capital? A critical race theory discussion of community cultural wealth. Race Ethnicity and Education, 8(1), 69–91. doi:10.1080/1361332052000341006