September 2022 – Mastering Librarianship

Part D: Critical Reflection

The subject of Literature in Digital Environments has challenged my thinking about how students engage with digital resources. During the Covid-19 lockdown, libraries had to evolve and connect to their readers in new and innovative ways, which involved interacting online and expanding electronic resource collections (Garner et al., 2021).

Module 1 provided the opportunity to expand thoughts about trends in digital literature. Curtis (2022, July 22) made the point that many teachers continue to evaluate literature based on our preconceived ideology of it being text-based, while digital literature is far beyond this. Similarly, in my first blog post for ETL533 (Foyel, 2022a) it was noted that although digital literature can deepen understanding, careful consideration needs to be made in selecting useful forms of digital literature amongst the vastness of choice (Dobler, 2013).

Interactive eBooks were featured early in my career (Foyel, 2022a), and was also noted (Foyel, 2022b) that digital texts afford new possibilities for reading and engaging with content (Lamb, 2011). McGeehan et al. (2018) entertained the idea that digital texts need to offer readers the opportunity to interact with the text, and educators seeking criteria to select quality digital literature.

Frustration arose in Module 2 when asked to consider the challenges of using digital technology in the classroom. For some teachers, embracing change is the first challenge to overcome (Foyel, 2022c), though this is not my biggest concern. Time and resources to explore new resources is my greatest frustration, where infowhelm is often at the forefront of my overwhelm (Foyel, 2022d).

Assessment 2 allowed time to explore different formats of digital literature. Though the quest to succinctly define what counts as a digital text continued. Wheeler (2022, August 8) aptly pointed out the frustration of defining an eBook vs a book app and Sargeant’s (2015) article helped to put into perspective that an eBook is read, while book apps are used. Undeniably, digital stories are not bound between pages, rather they offer features and experiences that cannot be provided by a print book (Yokota & Teale, 2014).

Furthermore, storytelling has played an important role in history “to share knowledge, wisdom and values” (Malinta & Martin, 2010, p. 3061) and evolving over time into the digital realm (Combes, 2019). Storytelling is constant, though constantly changing. Fisher and Hitchcock (2022, p. 371) defined digital storytelling broadly as “using computer-based tools to tell stories”. Stackhouse (2013) discussed transmedia and the increasing ways to tell digital stories and gain access to others’ stories. Stackhouse (2013) noted that higher levels of engagement can be linked to making decisions within a story.

This idea of decision-making in a story initiated my ideas about my own storytelling project. After analysing the reading habits of Stage 3 students, there was an undeniable gravitational pull toward graphic novels. Moorefield-Lang and Gavin (2012) discerned the visual nature of digital graphic novels is preferable to the 21st Century reader. Canva was the creative platform of choice due to personal familiarity and having previously taught Stage 3 to use it. Project decisions were based on promoting maximum engagement while building creativity and digital literacy skills (Fisher & Hitchcock, 2022). With this in mind, a folktale was incorporated as Stage 3 enthusiastically engaged in this writing topic during 2022.

Feedback was gained from road testing the resource with students and peers on my blog post, which was used to refine design choices. Curtis (2022, September 18) suggested adding interactivity elements, such as clicking an image to read a recipe. Interactivity was then included as comprehension tasks. Student feedback also instigated the ‘light bulb’ element to ensure students could locate the comprehension tasks. Facey (2022, August 29) proposed making the resource “real world” for students, this was incorporated into the comprehension tasks, giving the questions a 21st Century feel.

Stage 3 student feedback was valuable, and adjustments were based on this. Some suggested more dialogue was needed and others wanted more coloured images. Additional dialogue was inserted to help students understand the story and the layout was reordered to ensure the story could be followed. Colour vs black and white images represent “good” vs “bad” characters and was not changed. Overall, student feedback was extremely positive, students were engaged and excited to participate further (Foyel, 2022e).

Future developments may include a read-to-me option, to support students of low ability or from non-English speaking backgrounds. Barnett’s (2022, September 16) comment inspired this idea, where she pointed out that research by Yang et al. (2022) suggests “oral development and creativity skills in non-English speakers benefit from constructing meaning through digital storytelling in English” (2022, para. 2).

This subject has inspired creativity and compelled me to consider the vast formats of digital resources in a new way, though continuing to critically analyse them to ensure they are integral to students’ learning and growth as we “cannot predict what the future will hold” (Yokota & Teale, 2014, p. 585).

References (Part D)

Anonymous. (2022). Module 4.1. Understanding the value of digital storytelling. ETL533, Interact 2. https://interact2.csu.edu.au/webapps/blackboard/execute/displayLearningUnit?course_id=_64104_1&content_id=_5128719_1

Barnett, C. (2022, September 16). I have no doubt that your Stage 3 students will be completely absorbed in this unit of work! [Comment on “Digital storytelling proposal]. Mastering Librarianship. https://thinkspace.csu.edu.au/librarianlouise/2022/08/28/digital-storytelling-proposal/comment-page-1/#comment-13

Combes, B. (2019). Digital Literacy: A New Flavour of Literacy or Something Different?. Synergy, 14(1). https://www.slav.vic.edu.au/index.php/Synergy/article/view/v14120163

Curtis, J. (2022, July 22) If we redefine ‘literature’, do we need to redefine ‘reading’?. [Forum post]. ETL533, Interact 2. https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_64104_1&nav=discussion_board_entry&conf_id=_128305_1&forum_id=_282785_1&message_id=_4149565_1

Curtis, J. (2022, September 18). Firstly, I wholeheartedly agree with your observation about graphic novels soaring popularity. [Comment on “Digital storytelling proposal]. Mastering Librarianship. https://thinkspace.csu.edu.au/librarianlouise/2022/08/28/digital-storytelling-proposal/comment-page-1/#comment-14

Dobler, E. (2013). Looking beyond the screen: evaluating the quality of digital books. Reading Today, 30(5), 20 – 21.

Facey, A. (2022, August 29). I love that you are also going to use Canva as a means of producing digital work. [Comment on “Digital storytelling proposal]. Mastering Librarianship. https://thinkspace.csu.edu.au/librarianlouise/2022/08/28/digital-storytelling-proposal/comment-page-1/#comment-8

Fisher, C. M., & Hitchcock, L. I. (2022). Enhancing Student Learning and Engagement Using Digital Stories. Journal of Teaching in Social Work, 42(4), 371–391. https://doi.org/10.1080/08841233.2022.2113492

Foyel, L. (2022a, July 24). When is a book not a book? Mastering Librarianship. https://thinkspace.csu.edu.au/librarianlouise/2022/07/24/when-is-a-book-not-a-book/

Foyel, L. (2022b, August 21). Critical reflection of digital literature experiences. Mastering Librarianship. https://thinkspace.csu.edu.au/librarianlouise/2022/08/21/critical-reflection-of-digital-literature-experiences/

Foyel, L. (2022c, August, 8). 24 years of change. [Forum post]. ETL533, Interact 2. https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_64104_1&nav=discussion_board_entry&conf_id=_128305_1&forum_id=_282786_1&message_id=_4177475_1

Foyel, L. (2022d, August 13). Consumer challenges. [Forum post]. ETL533, Interact 2. https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_64104_1&nav=discussion_board_entry&conf_id=_128305_1&forum_id=_282787_1&message_id=_4190067_1

Foyel, L. (2022e, October 2). Creating a digital story – Feedback. [Forum post]. ETL533, Interact 2. https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_64104_1&nav=discussion_board_entry&conf_id=_128305_1&forum_id=_282779_1&message_id=_4249218_1

Garner, J., Hider, P., Jamali, H. R., Lymn, J., Mansourian, Y., Randell-Moon, H., & Wakeling, S. (2021). “Steady Ships” in the COVID-19 Crisis: Australian Public Library Responses to the Pandemic. Journal of the Australian Library and Information Association, 70(2), 102–124. https://doi.org/10.1080/24750158.2021.1901329

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17. http://ezproxy.csu.edu.au/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ehh&AN=67371172&site=ehost-live

Malinta, L. and Martin, C. (2010). Digital storytelling as a web passport to success in the 21st Century. Science Direct. Procedia – Social and Behavioral Sciences, 2(2), 3060-3064. https://doi.org/10.1016/j.sbspro.2010.03.465

McGeehan, C., Chambers, S., & Nowakowski, J. (2018). Just because it’s digital, doesn’t mean it’s good: Evaluating digital picture books. Journal of Digital Learning in Teacher Education, 34(2), 58-70. https://doi.org/10.1080/21532974.2017.139948

Moorefield-Lang, H. and Gavigan, K. (2012) These aren’t your father’s funny papers: The new world of digital graphic novels. Knowledge Quest, 40(3), 30-42. https://web-s-ebscohost-com.ezproxy.csu.edu.au/ehost/pdfviewer/pdfviewer?vid=1&sid=283419e7-3319-4e52-9b5a-61c67de16080%40redis

Sargeant, B. (2015, February 6). What is an ebook? What is a book app? And why should we care? An analysis of contemporary digital picture books. Children’s Literature in Education, 46(4), 454-466. https://doi.org/10.1007/s10583-015-9243-5

Stackhouse, A. (2013, May 22). Blurring the lines: Storytelling in a digital world. [Video]. TEDx Talks. YouTube. https://youtu.be/9c0bEZS1jC4

Wheeler, A. (2022. August 18). eBook vs book app. [Forum post]. ETL533, Interact 2. https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_64104_1&nav=discussion_board_entry&conf_id=_128305_1&forum_id=_282788_1&message_id=_4195924_1

Yang, Y. T. C., Chen. Y. C., & Hung, H. T. (2022). Digital storytelling as an interdisciplinary project to improve students’ English speaking and creative thinking. Computer Assisted Language Learning, 35(4), 840-862. https://doi.org/10.1080/09588221.2020.1750431

Yokota, J., & Teale, W. (2014). Picture books and the digital world. The Reading Teacher, 67(8), 577-585. https://doi.org/10.1002/trtr.1262

Assessment Task, ETL533, Master of Education (Teacher Librarianship)

ETL533 Assessment Item 4 – Digital Storytelling Project and Reflection: Part A and Part B

September 30, 2022October 2, 2022 Louise

PART A: Context for Digital Storytelling Project

Little Red Meets the Wolf is a digital narrative that focuses on folklore and its origins. It was created in the style of a digital graphic novel and intertwines ICT and the NSW Stage 3 English Syllabus outcomes. As the Teacher Librarian, series like Amulet, Wings of Fire, Mythic and Raina Telgemeier’s books have soared in popularity. Year 6 has sourced the Heartstopper series outside of school too. The graphic novel style has been chosen to connect with Stage 3 students, because of the current popularity of this genre and the new experiences it is providing with reading in the 21st Century (Moorefield-Lang & Gavigan, 2012).

Little Red Meets the Wolf has been designed using Canva and can be shared with students via this platform and/or Google Classroom. It is intended for use nearer to the end of a unit about Folklore and Fairytales. Students will be familiar with the traditional versions of the story Little Red Riding Hood and its structural elements prior to being introduced to this resource, accessed via www.gutenberg.org, books in which copyright has now expired.

The protagonist in Little Red meets the Wolf is featured as a coloured image, as are other “good” characters. The rest of the narrative’s images are in black and white to show the contrast between “good” and “bad”. The music was added to create an atmosphere and emotional impact (Serafini et al., 2015) and the animations were added to provide the opportunity to interact with the text (McGeehan et al., 2018).

When engaging with this resource, students will:

read through the given narrative in presentation mode (accessed via Google Classroom).
engage in the comprehension tasks on each page. Part A (Image 2) is accessed via a clickable image. Answers are submitted via Google Classroom.
open the Canva link (accessed via Google Classroom) and plan, compose and publish their own ending to the narrative (see Image 1, p6 and Image 3). Students are not required to make a copy as Google Classroom creates a copy for each student when shared as an assignment from Canva. Students must be aware of copyright (Image 1, p15).

Little Red Meets the Wolf Part A:

Page 3 Comprehension Task

Page 4 Comprehension Task

Page 5 Comprehension Task

Image 2 (Foyel, L. 2022). Click on each image to enlarge.

Little Red Meets the Wolf Part B:

Students will share Part A comprehension tasks with their teacher and their peers of Stage 3. Likewise, students’ Part B digital stories will be shared with the same audiences.

As part of this development process, I road-tested this resource with Stage 3 students. Their feedback lead to some development changes to ensure that my target audience was well catered for. This included changing or adding dialogue, ensuring students could find the activities by adding the light bulb element and introducing the resource after reading the traditional Grimms tale and two other shorter adaptions for context.

Learning to manipulate the digital platform is one area for students to develop their ICT skills and support the digital narrative process (Fisher & Hitchcock, 2022). Students in Stage 3 at my current setting have one-to-one access to laptops and access to Canva via their student portal to engage with this resource.

Pages 7 – 11 (Image 1) of the resource are storyboard templates for students to use, ensuring the digital graphic novel style is incorporated and students learn about the new content format (Moorefield-Lang & Gavigan, 2012). These pages can be rearranged, duplicated or removed. Pages 12 – 14 (Image 1) are story elements such as background pictures, exclamation symbols, speech bubbles, and character elements to help with the design process and enhance consistency with students’ story conclusion. Students should understand that the graphic novel style intertwines both images and dialogue, and the two must coexist to create a comprehensible narrative (LaFille, 2022).

As part of the English curriculum, Stage 3 completes a writing unit on Folklore, Myths and Legends. This unit develops student knowledge, understanding and skills using the NSW English Syllabus (NESA, 2012) outcomes, particularly objective A outcome EN3-2A, objective B outcome EN3-6B, and objective C outcome EN3-7C. Combined with the NSW curriculum’s general capabilities, that “deepen students engagement” (NESA, 2022) through critical and creative thinking and digital literacy.

Teachers explore various traditional tales and the style that they use. Stage 3 teachers could use this resource to assess student learning. Assessing learner-generated digital stories can be a challenge, though having a generic design as this resource provides, helps to generate an appropriate marking rubric (Kearney, 2011). Alternatively, this resource could be used in library lessons to support learning in the classroom and allow for collaborative writing and content sharing (Malinta & Martin, 2010). Part A comprehension tasks extend student thinking and learning about this folktale, the origins of the tale and a 21st Century viewpoint. Part B task challenges them to think beyond the traditional tale and construct an alternative viewpoint. Ultimately, Little Red Meets the Wolf is a resource to engage and enthuse students and teachers and deepen their understanding of digital narratives (Dobler, 2013).

References (Part A)

Dobler, E. (2013). Looking beyond the screen: evaluating the quality of digital books. Reading Today, 30(5), 20 – 21.

Kearney, M. (2011). A learning design for student-generated digital storytelling. Learning, media and technology, 36(2), 169-188. https://doi.org/10.1080/17439884.2011.553623

LaFille, R (2022, February 26). Visual writing in graphic novels. Kids Comic Unite. [Blog post]. https://kidscomicsunite.com/visual-writing-in-graphic-novels/

Moorefield-Lang, H. and Gavigan, K. (2012) These aren’t your father’s funny papers: The new world of digital graphic novels. Knowledge Quest, 40(3), 30-42.

NSW Education Standards Authority (NESA). (2012). English K-10 syllabus. https://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-areas/english-year-10/english-k-10/outcomes/table-of-objectives-and-outcomes

NSW Education Standards Authority (NESA). (2022). Learning across the curriculum: general capabilities. NSW Curriculum. https://curriculum.nsw.edu.au/teaching-and-learning/learning-across-the-curriculum#general-capabilities

Project Gutenberg. (n.d). Books: Little Red Riding Hood. https://www.gutenberg.org/ebooks/search/?query=Little+Red+Riding+hood&submit_search=Go%21

Serafini, F., Kachorsky, D. and Aguilera, E. (2015). Picturebooks 2.0: Transmedial features across narrative platforms. Journal of children’s literature, 41(2), 16-24.

PART B: Digital Storytelling Project

This resource has been created in its entirety using Canva. Canva allows a variety of ways to share this resource.

The link provided below is the presentation version, where you can advance at your own pace and click all links embedded in the presentation. All embedded links will open in a new window. Please note that music does not play automatically with all computers for this version and you may have to click a purple box in the top left corner to hear it.

There is also an embedded version, which would be used as the first play-through and advances automatically. This is not the version shared with students as the clickable links to the comprehension tasks do not work.

Little Red meets the Wolf : Presentation Link

Little Red Meets the Wolf by Louise Foyel

References (PART B)

Foyel, L. (2022). Little Red meets the Wolf. https://www.canva.com/design/DAFKUiigPvc/JsyCibvVdnTRHmCLyF4c2Q/view?utm_content=DAFKUiigPvc&utm_campaign=designshare&utm_medium=link&utm_source=publishpresent

Grimm, J. and Grimm, W. 1823 (2021). Grimms’ Fairy Tales. [eBook]. Project Gutenberg. https://www.gutenberg.org/files/2591/2591-h/2591-h.htm#link2H_4_0023

Lang, A. (Ed.). 1889. (2016). The Blue Fairy Book. [eBook]. Project Gutenberg. https://www.gutenberg.org/files/503/503-h/503-h.htm#link2H_4_0005

Perrault, C., 1889 (2010). Old-Time stories. [eBook]. Project Gutenberg. https://www.gutenberg.org/files/31431/31431-h/31431-h.htm#page92

Month: September 2022

Assessment item 4 – Digital Storytelling and Reflection: Part D

ETL533 Assessment Item 4 – Digital Storytelling Project and Reflection: Part A and Part B