Professional Documents
Culture Documents
Luca Ferrari
Education Sciences Faculty,
Universit di Bologna,
Via Filippo Re 6 40126 Bologna, Italy
E-mail: luca.ferrari15@unibo.it
Abstract: In this paper, we investigate the potential of digital storytelling in the
context of formal education for fostering substantial educational benefits. Our
discussion is based on a five-year experience with digital storytelling in Italian
classes of all school grades (from pre-school) that has involved almost 15,000
students, and on the data from surveys, direct interviews and focus groups with
hundreds of teachers. The results show that students do achieve a number of
benefits, both direct (i.e., curricular, traditional) and indirect (i.e..,
non-curricular, non-traditional, like, for example, a professional attitude). We
draw conclusions regarding what we deem to be the key ingredients of this
successful experience, among which the concrete implementation in each class
stands out as prominent.
Keywords: digital storytelling; instructional design; educational benefits;
digital learning; computer supported collaborative learning.
Reference to this paper should be made as follows: Di Blas, N. and Ferrari, L.
(2014) Digital storytelling at school: what kind of educational benefits?,
Int. J. Arts and Technology, Vol. 7, No. 1, pp.3854.
Biographical notes: Nicoletta Di Blas is an Assistant Professor of the
Department of Electronics and Information of Politecnico di Milano. She
graduated in classics and obtained her PhD in Linguistic Sciences from The
Catholic University, Milan. She teaches communication theory for Politecnico
di Milano and communication for cultural heritage for the University of
Lugano, Switzerland, at the Technology-Enhanced Communication for Cultural
Heritage Master. She is a member of HOC-LAB of Politecnico di Milano
(http://www.hoc.elet.polimi.it). Her research interests focus on multimedia,
multi-channel communication, eLearning (digital storytelling, educational
experiences based on MUVEs) and impact evaluation. Her two main
application fields are eCulture and eLearning.
39
Introduction
40
Related work
Digital storytelling is quite a huge field: due to the focus of this paper, we shall
concentrate here on systems that allow authoring multimedia digital stories rather than
passive consumption (Iurgel et al., 2009). Authoring tools for digital storytelling have
been mainly developed for (very) young children, being the educational value of
authoring a story strongly backed by those pedagogical theories that consider learning as
knowledge building rather than knowledge transmission (Feher, 2008; Jonassen and
Land, 2000). A number of tools have been developed to support this activity, both in the
academic and commercial arena. Still, commercial products tend to see users more as
listeners than authors and if they are considered as the authors, then they are generally
provided with readymade characters with which they can play role-games at the most.
These products are often CD-ROM-based, they impose strong limitations to creativity
and almost never allow cooperation or sharing of the stories with other peers (Antle,
2003). Therefore, to see real creativity at work, one must turn to academic prototypes
and projects (Cassell, 2008).
Many approaches make use of physical elements to trigger the process of
story-making. For example, MITs StoryMat records and recalls childrens voices as they
play with stuffed animals on a colourful, story-evoking, quilt (Cassell and Ryokai, 2001).
Other approaches, like Sage (Bers and Cassell, 1998) and PET (Druin et al., 1999),
integrate tangible elements (like stuffed animals) into the technology-enhanced
storytelling process. StoryRoom also adopts a physical approach by providing kids with
room-sized Interactive Storytelling spaces where they share a theatrical experience
(Alborzi et al., 2000). Other approaches make use of virtual environments in which the
stories take place, like Puppet, an autonomous agents-populated virtual environment
where children play multiple roles in creating narratives (Marshall et al., 2004).
Collaborative storytelling has also been explored, but mostly at experimental level:
MOOSE crossing, for example, allows kids to cooperatively design and build objects and
virtual characters in a virtual space (Bruckman, 1997). The FaTe project allows very
young kids (ages 5 to 8) to develop stories together in a shared 3D environment (Garzotto
and Forfori, 2006). ToonTastic is a tool, still in its beta phase, meant to enable children to
collaboratively create a story using an interactive, multiple-pen display (Russell, 2010).
Eventually, Canadian Broadcasting Corporation (CBC) 4Kidss StoryBuilder is one of
the rare examples of large-scale exploitation of a digital storytelling system. Children can
create multimedia comix-style stories, based on the typical mechanism of
add-a-sentence-to-a-story. They can then save their stories in an online personal space
and also publish them and share them with friends, via e-mail (Antle, 2003). Digital
drawing, especially if collaborative, has also been considered a form of storytelling, like
in the KidPad project (Benford et al., 2000).
41
Blas et al., 2010; Rubegni et al., 2010). Since the tool was quite easy to manage, we
decided to offer the opportunity of using it to Italian schools, starting from high schools
only in year 2006 and then progressively including all school grades. On the whole,
almost 13,000 students and 1,100 teachers have taken part in PoliCultura so far (see
Table 1).
Table 1
PoliCultura: the participating classes (those who register vs. those that actually take
part in the final competition)
Registered classes
Year
2010/11
2009/10
Total Pre-school
381
332
33
23
2008/09
415
2007/08
339
104
2006/07
Total
1,571
Primary
school
Junior
High
high
school
school
133
137
97
80
118
92
39
173
113
149
98
104
Total Pre-school
Primary
school
68
51
Junior
High
high
school
school
175
140
15
10
47
35
45
44
90
191
25
69
57
40
92
129
55
36
38
56
56
691
If satisfied by the result of their efforts, teachers and pupils can decide to take part in a
national competition that crowns the best works of the year. Roughly 1/3 of the
participating classes actually submit the narrative to the competition: underestimation of
the effort needed is the main cause for dropping out. A panel of experts, from the
academia and the school, examines the submissions. The main criterion of evaluation is
the pedagogical quality of the experience rather than the perfection of the final result.
42
Figure 1 Web version (left) and mobile version (right) of a multimedia narrative done with
1001 stories (pre-school class) (see online version for colours)
43
Users can browse the content in a number of ways: they can get a general overview, by
moving from one main topic to the next automatically, they can get all the pieces of
content moving from one topic to its sub-topics and then to the next main topic (again,
automatically), or select manually what they are interested in. When play lists are created,
the set of main topics (thus again offering an overview of the content) are collected as
well as the chapters (i.e., each topic plus its sub-topics).
44
theme selection
editorial plan creation, i.e., deciding what the topics and sub-topics are
contents refinement
data upload.
But in spite of this, teachers and pupils interpret these rules quite freely and a number of
very creative organisational patterns are possible (Di Blas et al., 2009b). For example, in
some cases the topic of the narrative is the object of some other school activity,
independent from PoliCultura, therefore a huge amount of material is already there and
the need is to squeeze it into the 1001 stories format. In other cases, since the class is
divided into groups, the workflow runs in parallel: each group manages the
collection-refinement-data upload sequence independently.
In the first year of deployment, when high schools only were addressed, two kinds of
topics for the narrative were suggested: local art or local history. We then understood that
this constraint hindered teachers from participating, since they felt they could not afford
abandoning curricular activities to focus on specific topics. We therefore decided to let
them free to select whatever subject they wanted.
Pupils are typically organised into groups. The groups composition is either decided
by the teacher (who for example puts together proficient with less proficient pupils) or by
the pupils themselves. Inside the group, roles may alternate so that all the pupils can
perform all kinds of activities: writing the texts, drawing the pictures and scanning them,
recording the audios, managing the activities as project managers, etc. As an alternative,
teachers give a different role to each pupil in the class (like for example the reporter)
and all the students work cooperatively. The teachers role varies according to the kids
age: for very young kids (less than eight years old), she manages the activity; for older
kids, she gives them freedom, often delegating most of the technology-based activities to
them. In all cases, she acts as supervisor of the production process.
At any time, during the creation process, authors can preview and play the final
result. When authoring is completed, the generation engine delivers the narrative as a
website, an off-line version (CD-ROMs can be burnt for the families) and also podcast.
All the narratives are displayed on our website (http://www.policultura.it), but schools are
free to install them on their server if they wish. In many cases, in order to share the
results with the families, schools have printed the work in various formats (e.g.,
notebook, posters).
teachers who complete the narrative and take part in the competition
teachers who complete the narrative but do not take part in the competition
teachers who do not complete the narrative and therefore do not take part in the
competition.
45
Questions mainly revolve around their assessment of the benefits achieved by the
students and how the activity was implemented.
Interviews are taken when the activity is about to start, to investigate the teachers
expectations, and at the end of the activity, to investigate the results. Interviews undergo
a complex refinement process that go from the transcription to a more synthetic main
features extraction. The ultimate goal is to put all the features extraction documents in a
repository, to be explored thanks to a combination of faceted search and tags/words
clouds. The repository is one of the tasks of a national-funded project, Learning 4All, that
involves partners from both technological and pedagogical universities. It is foreseen to
host hundreds of documents (each corresponding to a single interview) resulting also
from other ICT-based experiences, thus providing a comprehensive overview of how ICT
can be used in school environments and with what results. The repositorys target are
both teachers and scholars (Paolini et al., 2011).
Focus groups are held each year during the celebration day of PoliCultura: HOC-LAB
researchers sit together at a round table with 20 to 30 teachers and school principals.
Issues dealt with are: why did you decide to join an ICT-based activity? What kind of
benefits did it bring about? How did you organise the class? Did you manage to involve
all the students? Were ICT somehow helpful for inclusion? Eventually, the narratives
themselves are object of analysis by a panel of experts. The quality of the results is an
indicator of how much media literacy has been achieved.
Educational benefits
46
Last but not least, teachers report a significant increase in students engagement and
motivation. While engagement can be defined as the sheer pleasure of participating/doing
an activity, motivation is the will of performing the required tasks (i.e., reading,
researching, making the drawings, etc.), the feeling that expanding a great deal of energy
into something is worthwhile (Csikszentmihalyi, 1990). 68.3% of the teachers declare
that the class as a whole had been involved; 27% of the teachers declare that 80% of the
pupils in the class had been involved. Teachers report: PoliCultura has triggered
aggregation inside the class; students were so motivated that they worked even in
extra-curricular hours; PoliCultura generates enthusiasm: pupils show prolonged
attention and they thrive to improve their performance. Engagement and motivation are
probably the driving forces for all the other benefits.
47
Professional attitude: Probably in relation to the group work and also to the
competition, students develop a sense of responsibility and an almost professional
attitude. They feel that their contribution is intertwined with those of their peers and
is crucial for the overall final result (finishing the narrative and winning the
competition). A teacher reports: all the kids seem much more responsible. They
know that their work is crucial for the whole class. They start to understand what a
deadline is!.
Improved relationships between teacher and students: The common goal of creating
a good product and hopefully winning the competition bonds not only the students as
a group but also the students and the teacher. A teacher reports: PoliCultura has
been an occasion to know my students better, especially some kids who proved
invaluable in this work, whereas in regular school activity they do not usually stand
out.
Families participation: Again thanks to the high level of involvement, students tend
to report on what they are doing at home. In one case, the students of a primary
school who had done a narrative about the local archaeological museum, after the
work was finished brought their parents to visit the museum, acting as guides. Most
of the families had never visited the museum before (Garzotto and Paolini, 2008). In
another case, the grand-father of one of the kids was involved in the activity as
historical memory: the topic was the old way of living in a small village in the
Italian Alps.
48
Help into expressing oneself: Asking children to tell a story with their own digital
words, for example interpreting a character or simply reporting a personal
experience, helps them to express their inner self, sometimes in problematic
situations. A young primary school girl who took part to PoliCultura while in
hospital (a small, ever-changing class had been organised there) found a way to
speak aloud about her difficult situation. Asked to re-interpret in her own words the
wizard of Oz tale, she reported that our nurse is just like the Witch of the North: she
can see everything. Yesterday she spotted me while eating a cookie and she scolded
me: you know you just cant have cookies she said. In another case, students
were asked to make a self-presentation using poetry and images, with the 1001stories
tool. Andrea, a primary school boy, described himself as a chips: If I were a chips,
I would crumble up immediately, for Im so scared of being crunched () but if
I were Andrea, as I am and always have been, I would be a very long book to read.
Inclusion: The general excitement produced by PoliCultura urges all the students to
take part, even students with disabilities or diverse needs. A teacher reports: In my
class there is a dyslexic kid. He tried to record his part some 15, 20 times. He did not
want to give up! The whole class stood around him cheering and in the end, he made
it.
In this paragraph, we attempt to extrapolate from our experience what the key
ingredients that make it successful are. Figure 5 summarises our view.
Figure 5 Key ingredients of digital storytelling in schools, their immediate effects and generated
benefits (see online version for colours)
Note: The elements marked with * are those controlled (totally or partially) by the
designer.
49
Ease of use is the necessary pre-condition that allows the activity to be performed in any
kind school and by any teacher, even with a poor technological background. 1001 stories
can be managed very easily: 20 minutes is the average learning time in primary school.
Serious content is essential for the achievement of substantial benefits in terms of
knowledge (one of the direct benefits). Though this point may sound obvious, we want to
stress that phantasmagoric technological effects are useless if serious content is not there.
The second thing to be noted is that learning does not come through technology per se
but thanks to the motivation generated by technology: as discussed elsewhere, technology
acts as trigger, like an exciting shopping experience thanks to which goods (i.e., sound,
traditional, deep learning) are bought (Di Blas et al., 2010c).
Motivation comes from/together with engagement and engagement in its turn comes
from the fact that kids are using ICT. Data from interviews and focus groups show that
teachers acknowledge the fundamental role of technology in motivating their pupils.
When explicitly asked whether a similar activity but without ICT would have worked the
same, they all (100%) said it would not. A comparative study, where storytelling with
1001stories and without it was performed, reinforce this conclusion (Rubegni and
Paolini, 2010). Still, ICT alone is not enough: we offer all participants the possibility of
using the 1001 stories tool for any other activity they wish, but just a negligible subset
actually does it (less than 1%). Actually, the second key ingredient for motivating
students is a clear goal to achieve, in our case delivering the work by the deadline and
hopefully winning the competition. Previous experiences with ICT-based programmes in
schools demonstrated that the competition acts as a powerful spur for doing ones best
(Di Blas et al., 2009a). Being goal-directed is one of the many characteristics that in
Csikszentmihalyis option an activity should have in order to foster a sense of flow (i.e.,
deep involvement) in the participants (Csikszentmihalyi, 1990).The third motivating
factor is the visibility of the results: students (and their families) are fluttered by the fact
that their work will be on the web, visible to everyone. In another sense, even very young
kids (pre-school) like to think that someone (the people in Milan, their families, their
relatives) will look at what they have done (Figure 6). Interviews to teachers reveal
that an additional motivating factor is the relevance of Politecnico in the Italian
panorama: especially schools from small rural towns like to think they are taking part in a
national big initiative promoted by a prestigious institution.
50
Figure 6 Pre-school kids have just uploaded a set of picture and patiently wait while the system is
loading (see online version for colours)
Collaboration fosters both motivation and the reshuffling of roles. The interesting thing
is that the 1001 stories tool is not meant for collaborative use (but at the same time it does
allow for it). Still, when introduced in the classroom, it does foster a collaborative
activity (Di Blas et al., 2010b) and therefore strengthens the bonds among the students,
who need to cooperate to reach a common end. A teacher reports: my students are
reaching the awareness that group work means coordinating, listening to each other,
dividing tasks etc. A high-school student reports: the entire activity was almost entirely
managed by us students: we split into groups, collected relevant information and then
worked on it. Although the groups were 6, all collaborated with each other all the time.
The fact that 1001stories although not meant to foster collaboration does allow it has
turned out as an unexpected asset: interviews reveal that 100% of the participants do
work in group, in one way or another.
The reshuffling of roles is determined by the necessity for the teachers to adopt a new
pedagogical paradigm: teachers are provided, from our side, with just a sketch of
instructional design that needs to be completed and adapted in full details to fit the needs
of their specific situations. A number of factors are to be taken into account, ranging from
the students characteristics (proficiency, inclinations, capabilities, diverse needs) to
the equipment availability and the colleagues (or the principals) willingness to support
the activity. In addition, most of the times the activity is fully new for both teachers and
students. Unlike normal school activities, the teacher is neither fully aware of the details
nor can s/he fully handle the technological tasks. S/he has to cooperate with the students
to face the novelty. It oftentimes happens that students who for example are good at using
technology become the teachers helpers. Thus, roles in the class are reshuffled and
there is a chance for new talents to emerge and gain, through a successful experience,
enough confidence and motivation to perform better in school activities in general. A
teacher reported in an interview this interesting anecdote: In my class there is a student
that, well, you know makes you desperate. I gave the class as homework to prepare a
51
slideshow for the narrative. I asked them to deliver it by e-mail. Three hours later I got
the slideshow from that boy (the disaffected one). I could not believe it. The day after, I
showed it to all my colleagues who were as surprised as I was. From that moment, I gave
him more responsibility in the activity.
Let us now transform the lessons learned in a set of guidelines for designers:
1
The tool must be easy to use (to allow for wide adoption and also to support
communication efficiently).
We deliberately sacrificed some advanced functionalities (that we do have in our
professional version) to make the tool as intuitive and usable as possible.
Do not encage participants (and most important their leader, the teacher), in a strict
instructional design; let them free to add, adapt, change the rules to fit their situation
and needs. This is where creativity works.
Conclusions
In Section 5, we have distilled what we deem are the key ingredients of our successful
educational experience with digital storytelling in schools. In our current research, we
want to better investigate the instructional design how the experience is implemented
in the class. As we said above, in spite of the fact that we suggest a workflow of activities
in the instructions we provide participants with, they tend to interpret them in many
different ways and do as they like. Through the interviews (and their refinement)
performed in the frame of the Learning4All project, we are trying to elicit how the
implementation process relates to the achieved benefits. We know that the secret of a
positive educational impact lies in the process of creation itself, independently from the
quality of the result.
52
Acknowledgements
We warmly thank first and foremost Paolo Paolini, Scientific Coordinator of HOC-LAB
and of PoliCultura. We also like to thank the people from the HOC-LAB staff who
passionately work for making PoliCultura a success every year, especially Elena Maccari,
PoliCulturas project manager.
This work is partially supported by National Project L4A (Learning for All) Grant
No. RBNE07CPX 001.
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