The art of storytelling is intrinsically human.

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Stories are the way humans have conveyed information, cultural traditions and ideologies throughout the centuries as well as being the conduit of language, literature and literacy (Cornett, 2014). But whilst stories have been part of human culture for millenia, the way these stories are ingressed have evolved. Burkey (2016), points out that access to stories has not changed but prevalence of personal devices and evolving technologies have increased the methods of access. This is because storytelling, and the format in which they occur, are a reflection of societal norms. This shift in storytelling access is more apparent in young people as personal devices, such as tablets and smartphones, are an essential part of a teen’s social capital, and a reflection of their generation (Vidales-Bolanos & Sadaba-Chalezquer, 2017).

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Digital storytelling (DST) is a rapidly developing format that combines emerging technologies and literary works (Ciccorico, 2012). The process allows visual, audio and textual elements to be woven together to convey information in a digital format for either recreation or informative purposes (Ohler, 2013, p.94). The fundamental difference between a traditional story and a DST, is that the latter would lose its value if viewed without a screen. This is because the interactive and gaming elements present in most DST require the use of technology and a personal device for a transaction to occur between the story and the viewer (Ciccorico, 2012). The integration of DST in educational practice encourages students beyond just passively using technology into creators and users of technology.

From an education perspective, DST has great potential for teaching and learning. Moran et al., (2020) believes that the combination of storytelling and technology can improve traditional literacies and 21st century skills. The multimodality of DST allows students to engage and experiment with different literacies, formats and technologies across the curriculum and address the needs of diverse learners. This exposure to DST has an ability to impact literacy identities as well as provide assistance to EALD students and those with learning needs (Moran et al., 2020; Ross Johnston, 2014). When DST is integrated into teaching practice it allows the students to experience the text in a dynamic way by expanding algorithmic creativity and narrative perspectives (Ciccorico, 2012). It also allows teachers to engage students into difficult content matter such as the Holocaust and White Australia Policy as the format allows for the interweaving of primary and secondary sources in a non confrontational manner.

DST is a highly adaptable format that can be used effectively across the curriculum and year levels to effectively address curriculum outcomes. ACARA (2018) requires teachers to integrate digital literature such as DST in their practice to ensure students have the relevant skills and literacies for active citizenship in a digital world (MCEETYA, 2008). Educators who fail to integrate mobile technology into pedagogy limit the development of new literacies and competencies. By incorporating DST in educational practice, teachers are encouraging students beyond the passive use of technology to active users and creators of technology (Moran et al., 2020, p.6).

References

Australian Curriculum, Assessment and Reporting Authority. (2018). Literacy. In Australian Curriculum – General Capabilities. Retrieved from https://www.australiancurriculum.edu.au/f-10-curriculum/general-capabilities/literacy/

Burkey, A. (2016). Shifting stories in a digital world. FYI 20 (1), p.12-15. Retrieved from https://primo.csu.edu.au/permalink/61CSU_INST/15aovd3/cdi_rmit_aeipt_211907

Ciccoricco, D. (2012). Chapter 34 – Digital fiction – networked narratives. In Bray, J., Gibbons, A., & McHale, B. (2012). The Routledge Companion to Experimental Literature. Taylor & Francis eBooks. Retrieved from CSU Library.

Cornet, C. E. (2014). Integrating the literary arts throughout the curriculum. In Creating meaning through literature and the arts: arts integration for Classroom teachers (5th ed,) (pp144-193) USA

Curran, G. (2017). Unlocking life stories through digital storytelling. Fine Print 40(1), p. 28-30. Retrieved from https://primo.csu.edu.au/permalink/61CSU_INST/15aovd3/cdi_rmit_primary_828942069094737

Littlejohn, K. (2018). 1917live: Historical storytelling in the digital space. Teaching History 52(4), p. 4-7. Retrieved from https://primo.csu.edu.au/permalink/61CSU_INST/15aovd3/cdi_rmit_primary_207856499201807

Mantei, J., Kipscombe, K., & Kervin, L. (2018). Literature in a digital environment (Ch. 13). In L. McDonald (Ed.), A literature companion for teachers. Marrickville, NSW: Primary English Teaching Association Australia (PETAA)

MCEETYA (2008) Melbourne Declaration on Educational Goals for Young Australians. Curriculum Corporation. Australia. Retrieved from http://www.curriculum.edu.au/verve/_resources/national_declaration_on_the_educational_goals_for_young_australians.pdf

Moran, R., Lamie, C., Robertson, L., & Tai, C. (2020). Narrative writing, digital storytelling, and coding: Increasing motivation with young readers and writers. Australian Literacy Educators Association, 25 (2), p.6-10. Retrieved from https://primo.csu.edu.au/permalink/61CSU_INST/15aovd3/cdi_gale_infotracacademiconefile_A627277934

Ohler, J.B. (2013). Digital storytelling in the classroom: New media pathways to literacy, learning, and creativity (2nd ed.). Thousand Oaks, CA: Corwin. Retrieved from https://primo.csu.edu.au/permalink/61CSU_INST/1hkg98a/alma991012780180302357

Ross Johnston, R. (2014). Literary literacies: Digital, cultural, narrative, critical and deep literacies. In G. Winch, R. Ross Johnston, P. March, L. Ljungdahl & M. Holliday (Eds.), Literacy: Reading, writing and children’s literature (5th ed., pp. 556). Retrieved from Proquest Ebook Central.

Vidales-Bolanos, M., & Sadaba-Chalezquer, C. (2017). Connected Teens: Measuring the Impact of Mobile Phones on Social Relationships through Social Capital. Media Education Research Journal 53(25). Retrieved by https://files.eric.ed.gov/fulltext/EJ1171085.pdf

An expression that is almost universally known by both adults and children alike. The mere mention of this phrase is enough to perk my offspring’s heads and ears like meerkats on high alert. Like most children, my three girls love story time in all its forms. In their eyes (and ears) it is irrelevant how the story originates. Depending on my mood and their persuasive power; the mode and delivery of the story will vary. Sometimes it is a retelling of an old favourite or a re-read of a treasured classic; other times it is the most recent offering from a library; and occasionally, it is a spuriously invented pudding-headed story to bring silly smiles to little faces.

Cornett (2014) theorised that stories and storytelling developed from a need of the ancient peoples to understand their world. Stories are how cultural traditions and practices were passed down the generations and it is still the most common method in which communities celebrate and immortalise important events. After all, most families have embarrassing stories that get retold at every family gathering and eventually they become familial folklore. The Indigenous peoples of Australia have a rich history of oral traditions and as such, much of their cultural histories are embodied and immortalised in storytelling. But even for societies that no longer possess such a strong emphasis on oral traditions, storytelling is still the most basic and simple way we learn about language, our identity and the society we live in (Ross Johnston, 2014; Cornett, 2014).

So what makes a story so special?

Besides being a vector of traditions, stories and storytelling play key roles in language acquisition in children as stories expand their vocabulary repertoire (Cornett, 2014). Infants and toddlers do absorb nuances of language from their daily life from conversation but reading stories increases the variety of words available. This means that when exposed to literature as adolescents there is already a familiarity with language, which improves comprehension and fluency.

Besides language acquisition, stories also assist with identity formation (Ross Johnston, 2014). To put it simply, stories often contain didactic language that belongs to a particular sub section of society and thus stories can connect individuals together in society and or inform others of another society. A great example of this is Mem Fox’s ‘Possum magic’ with its inclusion of terms such as vegemite, pavlova and lamingtons. Australian children resonate with this story as the language used within is familiar to them and they can connect to the familiar animal characters. Whereas children from other countries could find this language both exotic and a novelty. Similarly, Rod Clement’s ‘Olga the Brolga’ brings together Australian fauna with its fabulous illustrations and rhyming text. Children who are exposed to stories like this discover local vocabulary and in turn unearth aspects of their own country and culture.

Stories are more than just words in a book. Stories reflect societal norms and allows children to gain information about the world they live in. They expand the mind, broaden values, teach empathy and show us what another viewpoint is. Most of all, stories teach us to reflect on who we are as individuals and what we can become. For all these reasons, stories and storytelling are indispensable to adults and children alike.

REFERENCES.
Cornet, C. E. (2014). Integrating the literary arts throughout the curriculum. In Creating meaning through literature and the arts: arts integration for Classroom teachers (5th ed,) (pp144-193) USA

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Digital Storytelling

The art of storytelling is intrinsically human.

Once upon a time…

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