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Textbook Digital Storytelling in Higher Education International Perspectives 1St Edition Grete Jamissen Ebook All Chapter PDF
Textbook Digital Storytelling in Higher Education International Perspectives 1St Edition Grete Jamissen Ebook All Chapter PDF
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DIGITAL STORYTELLING
IN HIGHER EDUCATION
INTERNATIONAL PERSPECTIVES
EDITED BY
GRETE JAMISSEN
PIP HARDY
YNGVE NORDKVELLE
HEATHER PLEASANTS
Digital Education and Learning
Series Editors
Michael Thomas
University of Central Lancashire
Preston, UK
John Palfrey
Phillips Academy
Andover, MA, USA
Mark Warschauer
University of California
Irvine, CA, USA
Much has been written during the first decade of the new millennium
about the potential of digital technologies to produce a transformation of
education. Digital technologies are portrayed as tools that will enhance
learner collaboration and motivation and develop new multimodal literacy
skills. Accompanying this has been the move from understanding liter-
acy on the cognitive level to an appreciation of the sociocultural forces
shaping learner development. Responding to these claims, the Digital
Education and Learning Series explores the pedagogical potential and
realities of digital technologies in a wide range of disciplinary contexts
across the educational spectrum both in and outside of class. Focusing on
local and global perspectives, the series responds to the shifting landscape
of education, the way digital technologies are being used in different edu-
cational and cultural contexts, and examines the differences that lie behind
the generalizations of the digital age. Incorporating cutting edge volumes
with theoretical perspectives and case studies (single authored and edited
collections), the series provides an accessible and valuable resource for
academic researchers, teacher trainers, administrators and students inter-
ested in interdisciplinary studies of education and new and emerging
technologies.
Digital Storytelling in
Higher Education
International Perspectives
Editors
Grete Jamissen Pip Hardy
Oslo and Akershus University College Pilgrim Projects
of Applied Sciences Cambridge, UK
Oslo, Norway
Heather Pleasants
Yngve Nordkvelle University of Alabama
Inland Norway University of Tuscaloosa, AL, USA
Applied Sciences
Lillehammer, Norway
Twenty years ago, in the fall of 1996, I made a trip to Europe. To Bristol,
England. To hold what would be the first of many digital storytelling (DS)
workshops in the UK and Europe over the next several years.
Our sponsor in Bristol was Hewlett Packard (HP) Labs, the research
and development wing of the US technology company. They wanted
us working in a partnership between the Watershed, a media arts cen-
tre down on the quay in central Bristol and the University of the West
of England (UWE). A graduate student who also worked at HP Labs,
Clodagh Miskelly, would be part of one of those first workshops, as would
a number of local academics.
It was our first academic partnership in the UK. During the next couple
of years, we came back to UWE. These initial workshops in Europe were
quite important to us; we were not at all sure that the populist ethos of our
work would translate to contemporary Europe, particularly as a new genre
of media communications in an educational context.
I think it would be fair to say that the European academic world
did not quite know what to make of our project. Media arts educa-
tion and media literacy were well-established fields in the UK and the
rest of Europe. And while computer-based media work was still a fresh
idea, there was nothing particularly compelling about our model from a
media arts standpoint. The little pieces made in these short workshops
were not going to be the kind of work that would end up circulating at
local video centres or annual educational video festivals, or appearing
in some corner of local television. Video on the internet was still years
v
vi FOREWORD
from being practical, so what do you do with a media practice that was
not about some form of broadcast?
Nor was it conceivable for people to think of this work as a new type
of multi-modal composition. Despite our insistence that we were re-
purposing oral tradition and popular literacy for the digital age, a sort of
practicum to Walter Ong’s perspectives on orality, literacy and electronic
media, that it had a potential as a part of all sectors of academic work, our
personal, non-expository approach seemed suspect.
I am sure we felt, even if it was never spoken, the ‘well that’s quite nice,
darling, but really…’ dismissal of our post-modern pals working at their
academic institutions. I remember at one of our early workshops in the
Netherlands, a Dutch colleague commented, ‘this is like Oprah Winfrey!’
That was not good. I assumed our future in Europe was limited, as no one
seemed to understand what we were trying to achieve.
We were very fortunate in 1998 to be invited to make our residence
at the School of Education at the University of California, Berkeley. Dr
Glynda Hull, the College Writing Program, and a group of her gradu-
ate students assisted in a reinterpretation of our practice as a form of
communicative engagement different from the ‘multimedia’ authoring
(Educational Powerpoint and Hypercard stacks on CD ROMS) and con-
cern about hypertext composition; that was how ‘digital’ composition was
being discussed at the time.
Our approach had us taking the tool of digital video editing and, to a
lesser extent, photo manipulation and re-composition in Photoshop, and
inviting a populist voice to emerge from a simple, direct method of telling
a brief, personal story. Hull and others recognized the potential of such
a method to integrate processes of identity construction with the digital
literacy concern, and information technology strategies, of contemporary
curricula.
Other educators around the world began to take note, and we found
ourselves bouncing around Scandinavia, Germany, the Netherlands,
Belgium and, of course, all around the USA presenting the idea to educa-
tional professionals. In 2002, I spoke, as someone introducing an idea, at
the ‘Society for Information Technology in Education’ Conference about
DS. By 2006, there were 33 separate presentations on DS. DS had arrived
on the college campus as a valuable new way to encourage all students to
compose for the screen.
What we have seen as a community over the last two decades is the
expansion of the utility of DS into every corner of higher education. In
FOREWORD vii
As you look across the contributions, you are made aware of the depth
of commitment of the authors to understanding the strengths, limitations
and opportunities of DS as composition, as connection and as building
respectful, healthy educational communities and informed responsible
citizens.
Along with all these contributors, we share a commitment to bring the
whole person into the educational experience. We are not on this planet
as educators to stack the lives of our learners into tiers of success. We are
here to awaken the sense that scholarship and learning should be, in every
sense of the word, a healthy endeavour. It should create whole people,
who can address complicated issues, to make a more whole, safe, sustained
and sustainable world.
Joe Lambert
Series Foreword
Much has been written during the first decade of the new millennium
about the potential of digital technologies to radically transform educa-
tion and learning. Typically, such calls for change spring from the argu-
ment that traditional education no longer engages learners or teaches
them the skills required for the twenty-first century. Digital technologies
are often described as tools that will enhance collaboration and motivate
learners to re-engage with education and enable them to develop the new
multi-modal literacy skills required for today’s knowledge economy. Using
digital technologies is a creative experience in which learners actively
engage with solving problems in authentic environments that underline
their productive skills rather than merely passively consuming knowledge.
Accompanying this argument has been the move from understanding lit-
eracy on the cognitive level to an appreciation of the socio-cultural forces
shaping learner development and the role communities play in supporting
the acquisition of knowledge.
Emerging from this context, the Digital Education and Learning series
was founded to explore the pedagogical potential and realities of digital
technologies in a wide range of disciplinary contexts across the educational
spectrum around the world. Focusing on local and global perspectives, the
series responds to the shifting demands and expectations of educational
stakeholders, looks at the ways new technologies are actually being used
in different educational and cultural contexts, and examines the oppor-
tunities and challenges that lie behind the myths and rhetoric of digital
age education. The series encourages the development of evidence-based
ix
x SERIES FOREWORD
We, the editors of this book, and probably you, if you are also engaged in
the lofty pursuit of higher education, will be concerned with the kindling
of flames in your students.
It is Pascal who is credited with saying: ‘We tell stories to entertain and
to teach’. We believe that we also tell stories to learn, and we know that
the telling and sharing of stories are among the best ways to kindle that
flame.
We have been inspired by the potential of DS to inspire our students
and teach them how to learn—about the subjects they are studying, how
they are studying them, how to present their learning to others and how to
use new technologies to perform the most ancient of tasks: the expression
and sharing of experience. Our own experiences of creating digital stories
with students are that they learn about all of these things and much more:
they learn about the communities in which they live, study and work; they
learn about their own potential to overcome adversity and sorrow; they
learn to see the future as a bright opportunity to which they belong and
which belongs to them and, above all, they learn about themselves.
This book began as a twinkle in the eye of Grete Jamissen. Grete’s
determination to transform her own university into ‘a digital storytell-
ing university’ extended to her vision of a book about the myriad uses
for DS in higher education. Needless to say, she infected the rest of us
editors with her enthusiasm and commitment to the growing potential
of DS as a valuable tool for teaching and learning and research as well as
for community engagement and the integration of new knowledge across
xiii
xiv PREFACE
xvii
xviii CONTENTS
Index 391
Contributors
xxi
xxii Contributors
College of Nursing and other health related charities, is vice-chair of a local ethics
committee and maintains strong links with the wider clinical disciplines facilitating
improvements in patient engagement and experience using technology and social
media. She has a special interest in ethics and health technology from a user per-
spective. Contact her on c.haigh@mmu.ac.uk and find her CV here http://mmu.
academia.edu/CarolHaigh or follow her on twitter @loracenna
Satu Hakanurmi Satu Hakanurmi works at the University of Turku, Faculty of
Education, and is associated with The Finnish Society for Research on Adult
Education. Her research interests are in adult education, workplace learning, pro-
fessional development, storytelling and narratives, identity and online learning.
Tony Hall Tony Hall is a lecturer in Educational Technology, School of Education,
National University of Ireland, Galway (NUIG). Tony’s research interests include
educational innovation; narrative theory and technology in education, including
DS; and practitioner methodology through design-based research. At NUIG,
Tony jointly leads—with Drs Michael Hogan, John Breslin and Bonnie Thompson
Long—the EU Horizon 2020 Q-Tales Project to design educational e-books:
http://www.qtales.com/. Tony is also co-principal investigator for the REX
Project to design an online portal to support teacher research: http://www.resear-
chexpertiseexchange.com/. Tony is a fellow of the International Society for
Design and Development in Education: http://www.isdde.org.
Pip Hardy Pip Hardy is a director of Pilgrim Projects, UK, an education consul-
tancy specializing in open learning and healthcare quality improvement, and a
co-founder of Patient Voices (www.patientvoices.org.uk). With a BA in English
Literature and an MSc in Lifelong Learning, Pip has a keen interest in how stories
can promote learning, understanding and insight. Her PhD investigates the poten-
tial of DS to transform healthcare and healthcare education.
Geir Haugsbakk Geir Haugsbakk (born 1956) is an associate professor of educa-
tion at Lillehammer University College. He worked in the Centre for Lifelong
Learning for a decade and is now Head of Department of Education. His PhD
from the University of Tromsø was on the politics and rhetoric of implementing
ICT in schools in Norway. His primary interests are in language, media, technol-
ogy and education. He is currently working on a research project focusing on
‘Digital Bildung’. He is also co-editor of seminar.net.
Brooke Hessler Brooke Hessler is a professor of writing and director of Learning
Resources at California College of the Arts. An award-winning teacher of experi-
ential and arts-integrated courses, her digital storywork has included long-term
collaborations with K-12 educators, community arts activists and survivors of nat-
ural disasters and domestic terrorism. Her research centres on the uses of participa-
tory media for critical reflection and embodied learning. She is co-author of A
Guide to Composition Pedagogies (Oxford).
xxiv Contributors
facilitates workshops in DS. Ragnhild Larsson has also developed a method to cre-
ate digital stories on behalf of researchers and has produced stories for Chalmers
University, Gothenburg University, The Hasselblad Foundation and Swedish
Foundation of Strategic Research, among others. She also writes articles and has
co-authored several books about working life issues. A main theme in all her work
is sustainability, whether it is a sustainable working life or environmental and cli-
mate change issues.
Brian Leaf Brian Leaf was recruited into the OSU Digital Storytelling Program
by his then-supervisor Karen Diaz in 2013. After she left, he succeeded her in
coordinating the interdisciplinary programme, discovering his passion for out-
reach and facilitation. During the five years he worked at OSU, Brian was respon-
sible for redesigning credit courses, tackling information literacy issues and
producing instructional media. While involved with the DS programme, he helped
develop new partnerships and classroom opportunities. He has taken the lessons
he learned to his new position as emerging technologies coordinator for the
Regional Medical Library of the National Network of Libraries of Medicine South
Central Region, where he is engaged in outreach and finding solutions for health-
ier communities across the region.
Inger Kjersti Lindvig Inger Kjersti Lindvig is an associate professor in social
pedagogy at the University College of Southeast Norway. Her research interests
span from interdisciplinary and interprofessional education to international, global
and multicultural issues related to health, social and welfare studies. She has broad
experience from teaching, development and innovative work in the health, social
and educational sector, both nationally and internationally. She has done field
work and practical studies in Africa, Asia, South America and Europe. At present,
she participates in the Erasmus+ project: ‘Common Good First. Digital Storytelling
for Social Innovation’: Cooperation for innovation and the exchange of good
practices.
Bonnie Thompson Long Bonnie Thompson Long is an education technologist/
multimedia content developer in the Centre for Adult Learning and Professional
Development, NUIG. Bonnie’s main research interest lies in the use of technology
to enhance the learning experience of pre-service teachers. Her PhD research, on
which this chapter is based, focused on the use of DS as a method of enhancing
student teachers’ ability to be reflective practitioners. Related interests include
reflective practice, narrative theory in education, DS, multimedia learning theo-
ries, autoethnography in teacher education and pre-service teachers’ use of
technology.
Michael Meimaris Michael Meimaris is the founder of the New Technologies
Laboratory in Communication, Education and Mass Media of the National and
Kapodistrian University of Athens and currently the director of the University
xxvi CONTRIBUTORS
xxix
xxx List of Figures
Fig. 23.2 Screen shot from Crossing Over, (2009) written and
directed by Evelyn. The image is in conversation with
the following moment in her monologue, “The pressure
in here is so high that everyone seems to be furious about
little things. If you ask me I would say that most of our
ailments are stress related.” 347
Fig. 24.1 Storytelling viewer interface of the Milia platform 358
Fig. 24.2 Storytelling editor interface of the Milia platform 359
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