Towards the development ofdigital storytelling models for use  in resource-poor environments and across disciplines to act...
Digital storytelling in Education    • Digital stories are short movie clips, created        with off-the-shelf equipment ...
Digital storytelling in Education       • Potential to transform pedagogical         practices and to provide opportunitie...
Digital storytellingessayEducation       • Replacing traditional in assignments        • Particularly suitable approach fo...
Digital storytellinginin Education         • Research mainly research rich            environments, focus on giving voice ...
Get pc version from Daniela1st year Industrial Design Students
• Diverse learners (age,   gender, race, economic   backgrounds) • Diverse preparedness for   tertiary education • Diverse...
Course     Gender              Age                           Race  name              F    M     Under   22-30   Over 30 Wh...
Course     Gender              Age                           Race  name              F    M     Under   22-30   Over 30 Wh...
• Bourdieu (1986): social and cultural capital   Digital storytelling in Education           determine students educationa...
Digital storytelling in Education         These differences in students’ cultural capital            reflect the legacy of...
•• RIFTAL funded               RIFTAL funded            •• Collaboration between Fundani and               Collaboration b...
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
•• Mixed methods           Mixed methods        •• Quantitative survey, statistical tests           Quantitative survey, s...
1. Do students’ backgrounds matter?           1. Do students’ backgrounds matter?           2. How do students perceive mo...
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 ...
Findings
Findings
You guys really carried us throughout the       process, from the initiation when we had to do our       story development...
… we don’t have Internet at home....it           was actually difficult –you have to do           something which you need...
Findings
Findings
“The moment I saw it coming   I started    seeing mistakes, oh I could have done that    better. I could have done that be...
•• Product vs Process “What set digital          Product vs Process “What set digital         storytelling apart are reall...
Burgess (2006, p. 210): “vernacular   literacies –         skills and competencies that cannot simply be         reduced t...
• Digital stories to cross the divide             between formal and informal learning           • Opportunity for student...
• Digital storytelling is viable in various settings        provided you chose the right model      • Use of technologies ...
1st Year ECP Architectural Technology
CPUTstories YouTube channel
Barrett, H. (2006). Digital Stories in ePortfolios: Multiple Purposes and Tools. Retrieved January 25, 2011, from http://e...
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Towards the development of digital storytelling models for use in resource-poor environments and across disciplines to activate student’ social and cultural capitalTowards the development of digital storytelling models for use in resource-poor environme

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  • Towards the development of digital storytelling models for use in resource-poor environments and across disciplines to activate student’ social and cultural capitalTowards the development of digital storytelling models for use in resource-poor environme

    1. 1. Towards the development ofdigital storytelling models for use in resource-poor environments and across disciplines to activatestudent’ social and cultural capital Cape Peninsula University of TechnologyDaniela Gachago, Eunice Ivala, Veronica Barnes, Penny Gill,Joseline Felix-Minnaar, Jolanda Morkel and Nazma Vajat
    2. 2. Digital storytelling in Education • Digital stories are short movie clips, created with off-the-shelf equipment and software, combining text, images, videos, music and • Digital stories are short movie narration (Lundby, 2008). clips, created with off-the-shelf equipment and software, combining text, images, videos, • Some very personal others more content based (digitalmusic and narration2012). narratives: Clarke & Thomas, (Lundby, 2008). • Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).Digital storytelling in Education
    3. 3. Digital storytelling in Education • Potential to transform pedagogical practices and to provide opportunities for • Digital stories are short movie new knowledge building and identities (Scott clips, created with off-the-shelf Nixon, 2009). equipment and software, • Critical reflection combining text, images, videos, • Contextualising / and narration (Lundby, music transfer of knowledge 2008). between academic and community settings • Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).Personal stories - purpose
    4. 4. Digital storytellingessayEducation • Replacing traditional in assignments • Particularly suitable approach for teaching students•from non-traditional educational Digital stories are short movie clips, created with off-the-shelf backgrounds, equipment and software, • and/or those for whom academic literacy and combining text, images, videos, plagiarism is a challenge (Barnes, Gachago, & Ivala, music 2012). narration (Lundby, 2012; Clarke & Thomas, and 2008). • Authentic Learning opportunities (Herrington et al. 2010) • Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).Content based stories - purpose
    5. 5. Digital storytellinginin Education • Research mainly research rich environments, focus on giving voice to marginalised groups are short movie • Digital stories clips, created with off-the-shelf • What’s equipment andstorytelling in missing? Digital software, resource poor environment videos, combining text, images, music and narration (Lundby, 2008). • Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).Research on Digital storytelling
    6. 6. Get pc version from Daniela1st year Industrial Design Students
    7. 7. • Diverse learners (age, gender, race, economic backgrounds) • Diverse preparedness for tertiary education • Diverse access to resourcesContext of CPUT
    8. 8. Course Gender Age Race name F M Under 22-30 Over 30 White Black Coloured Indian 21 African 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 69% 31% 32% 60% 8% 23% 79% 16% 1% TechCourses involved
    9. 9. Course Gender Age Race name F M Under 22-30 Over 30 White Black Coloured Indian 21 African 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 69% 31% 32% 60% 8% 23% 79% 16% 1% TechCourses involved
    10. 10. • Bourdieu (1986): social and cultural capital Digital storytelling in Education determine students educational success • Digital stories are short movie • Slightly deterministic view of social reproduction created with off-the-shelf clips, equipment and software, • Critiques: how do students activate these combining text, images, videos, capitals?music capitals are we (Lundby, What and narration talking 2008). about? (Lareau & McNamara Horvath 1999, Yosso 2005) • Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).Social and cultural capital
    11. 11. Digital storytelling in Education These differences in students’ cultural capital reflect the legacy of Apartheid. In today’s South • Digital stories are short movie Africa, race and language still plays a significant clips, created with off-the-shelf role in determining educationalsoftware, equipment and and economic combining text, images, videos, privilege, with white students speaking English music and narration (Lundby, or Afrikaans tending to be the most privileged 2008). (Leibowitz et al 2010). • Some very personal others more content based (digital narratives: Clarke & Thomas, 2012).South African context
    12. 12. •• RIFTAL funded RIFTAL funded •• Collaboration between Fundani and Collaboration between Fundani and various academics various academics •• Exploring use of digital stories across Exploring use of digital stories across disciplines disciplines •• And with differently positioned students And with differently positioned students and for different learning purposes and for different learning purposesthe Study
    13. 13. Mobile learning and digital stories
    14. 14. Mobile learning and digital stories
    15. 15. Courses involved
    16. 16. Courses involved
    17. 17. Courses involved
    18. 18. Courses involved
    19. 19. Courses involved
    20. 20. Course models of DST projects
    21. 21. 1st year ECP Nursing students
    22. 22. •• Mixed methods Mixed methods •• Quantitative survey, statistical tests Quantitative survey, statistical tests •• Focus groups for explicating findings Focus groups for explicating findingsMethodology
    23. 23. 1. Do students’ backgrounds matter? 1. Do students’ backgrounds matter? 2. How do students perceive model 2. How do students perceive model used (support etc)? used (support etc)? 3. How did they enjoy the project? 3. How did they enjoy the project? How happy are they with results? How happy are they with results?Findings
    24. 24. Findings
    25. 25. Findings
    26. 26. “… 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
    27. 27. Findings
    28. 28. Findings
    29. 29. 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
    30. 30. … 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
    31. 31. Findings
    32. 32. Findings
    33. 33. “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 especiallywhen 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.”Findings
    34. 34. •• Product vs Process “What set digital Product vs Process “What set digital storytelling apart are really the process storytelling apart are really the process and the purpose””(Tacchi 2009: 171). and the purpose (Tacchi 2009: 171). •• Diverse settings with diverse students Diverse settings with diverse students need “high degree of versatility, need “high degree of versatility, adaptability, and flexibility in the adaptability, and flexibility in the format and practice of creating the format and practice of creating the stories”. (Clarke 2009: 151) stories”. (Clarke 2009: 151)Discussion
    35. 35. 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.”Vernacular Literacies
    36. 36. • 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)Alternative social and cultural capitals
    37. 37. • 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 neededConclusions
    38. 38. 1st Year ECP Architectural Technology
    39. 39. CPUTstories YouTube channel
    40. 40. Barrett, H. (2006). Digital Stories in ePortfolios: Multiple Purposes and Tools. Retrieved January 25, 2011, from http://electronicportfolios.org/digistory/purposes.html Bozalek, 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)01179-0 Clarke, 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.v2n3p30 Donner, 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.pdf Donner, 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.pdf Lareau, 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+html Reitmaier, 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.pdf Tacchi, 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:10.1080/1361332052000341006References

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