Running head: STORYTELLING FOR SOCIAL JUSTICE

Syllabus and Reflective Analysis: Storytelling for Social Justice

Naseeb K. Bhangal
Loyola University Chicago

STORYTELLING FOR SOCIAL JUSTICE

In order to practice curriculum design, specifically backward design and integrated

course design to create significant learning experiences, I created a syllabus for a Storytelling
for Social Justice seminar course. By utilizing an integrated course design, I had to assume
responsibility for deciding what would constitute high-quality learning in a given situation and
then for designing that quality into the course and into the learning experience (Fink, 2003, p.
68). Based on Finks (2003) model of integrated course design, I focused first on situational
factors and eventually worked to distinguish and integrate the three major components of the
model using backward design: the learning goals, the feedback and assessment, and the teaching
and learning activities. According to Fink (2003), these three areas must reflect and support each
other, which is often overlooked by faculty who will focus on the list of topics (p. 68) or the
list of activities (p. 68) without focusing on integration amongst learning outcomes, assessment
and activities. This paper seeks to explain how Finks (2003) integrated course design model,
specifically learning goals, feedback and assessment, and teaching and learning activities, were
utilized to create a significant learning experience for students interested in the Storytelling for
Social Justice seminar course through a review and examination of the syllabus.
Syllabus: Components and Process
The integrated course design begins with situational factors, which Fink (2003) warned
was important to consider before thinking about learning goals, feedback and assessment, and
teaching and learning activities because If you skip over this step or do a superficial job, you
increase the chances of ending up with a course that doesnt work for the students (p. 76).
Admittedly, I had very limited knowledge of specific context, expectations of external groups,
nature of the subject, characteristics of the learners, characteristics of the teachers, or the special
pedagogical challenge for the Storytelling for Social Justice course given my very limited

STORYTELLING FOR SOCIAL JUSTICE

understanding of course design and instructional approach. Nonetheless, I poured great thought
into the situational factors that could impact my proposed course, from the specific context of the
course, i.e. the time and place for the course information, to the special pedagogical challenge,
i.e. identity exploration and co-constructing knowledge. In practice, instructors and faculty have
far more information from both their respective institutions regarding student demographics and
learner characteristics than what I had available for this assignment or subject matter.
Additionally, in evaluating situational factors, I tried to be sensitive to the reality that both
storytelling and social justice are topics that students may or may not have some pre-existing
knowledge of before this course. It was important for me to acknowledge this as an instructor in
the syllabus in the Course Description section, specifically in the Central Themes and
Pedagogical Framework sub-sections.
Consistent with Nilsons (2010) annotated list of necessary components for a course
syllabus, I began my syllabus by providing course information about myself as an instructor. I
eventually moved into describing the course, which included a course description, central themes
(i.e. (Re)Learning Storytelling, Application of Storytelling, Exploring Identity Through
Storytelling, and Determine Personal Position on Storytelling and Social Justice), and Course
Framework and Pedagogy. These sections best demonstrate my consideration of situational
factors and my attempt to proactively address any questions students may have regarding the
course instruction or the topics of storytelling and social justice. Nilson (2010) suggested that
The more information you include [in the syllabus], the less you have to improvise or decide on
the run, and the fewer student questions you will have to answer (p. 33). As such, I paid close
attention to introducing both storytelling and social justice as separate but complimentary topics
and pedagogies in my course description. I ensured that students knew they were not only going

STORYTELLING FOR SOCIAL JUSTICE

to explore storytelling as a tool for communication but also explore their own social identities as
it relates to topics of privilege, oppression, and social justice.
After laying the ground work, I began to move forward with the course design by
focusing on learning goals, feedback and assessment procedures, and teaching and learning
activities. I spent more time on the Initial Phase: Build Strong Primary Components (Fink,
2003, p. 82) than the other two phases of the integrative course design model. Utilizing the
taxonomy of significant learning, I created learning outcomes that support multiple kinds of
significant learning (see Appendix A). By using a backward design, I utilized learning outcomes
and then considered feedback and assessment approaches before the teaching and learning
activities. In order to establish the learning outcomes and assessment for this course, I asked
myself Finks (2003) question: What is it I hope that students will have learned, that will still be
there and have value, several years after the course is over (p. 71)? In answering this question, I
wanted students to utilize storytelling as a medium of communication and understanding,
especially around important social experiences, such as ones identity development and
encounters with injustice.
After establishing my learning outcomes, I paid close attention to how the assessment and
feedback opportunities in class along with the learning activities could successfully usher the
learning outcomes in class. By focusing on Lee Ann Bells (2010) work on Storytelling for
Social Justice, I ensured that my reading material was relevant to the course outcomes and
topics. I wanted students to be able to develop their stories and also present these stories in class.
In turn, I wanted everyone in the class to practice providing feedback and reactions to each story
shared in the classroom. Many of my learning outcomes require students to be actively engaged
in the classroom as either listeners of stories or as storytellers. Based on my understanding of

STORYTELLING FOR SOCIAL JUSTICE

Bells (2010) model, and my own lived experiences, it can be easier to understand how dominant
stories and identities are privileged in society through the telling of concealed, resistance, or
counter stories. Creating these stories outside of class and sharing these stories in class takes a
significant amount of time in the syllabus due to the listening and feedback that is required from
students. The final Learning How to Learn outcome is one of the few outcomes where I have
asked students to complete a position paper in order to help evaluate the limitations and benefits
of storytelling for social justice. Otherwise, most of the outcomes are supported by in-class
activities and feedback that students will partake in through the sharing of their stories.
After determining my outcomes, I aimed to incorporate as many parts of the educative
assessment Fink (2003) described into my syllabus. In order to encourage FIDeLITY
feedback in the course, I created course assignments (i.e. Who I Am story; Bell Story) that would
allow students to receive immediate and consistent feedback through the oratory presentation of
their stories in the classroom. Additionally, the Who I Am and Bell Story assignments were
meant to move students beyond passive learning and towards active learning by serving as a
Doing Experience (Fink, 2003, p. 116) for them. I, along with Bell (2010), believe that the
best way to learn about storytelling is to engage in the experience of constructing and sharing
your story, which is what a significant portion of the class encourages. Further, the sharing of
the stories in the classroom is accompanied by peer feedback regarding the content, delivery, and
impact experienced from each story. By having students provide feedback to their peers
regarding their stories, my hope is to create an appropriate opportunity for students to rehearse,
practice, consult resources, and get feedback on and refine performance (Fink, 2003, p. 96).
Furthermore, I incorporated self-assessment opportunities throughout several of the class
assignments (i.e. participation; Reflection Paper & Self-Assessment) to promote a shared

STORYTELLING FOR SOCIAL JUSTICE

responsibility for learning amongst the students. I specifically hope to use the Reflection Paper
& Self-Assessment assignment as an opportunity for students to not only revisit their learning
from an earlier assignment in class (i.e. Who I Am story), but to also incorporate peer feedback
in their reflection of storytelling as a pedagogical tool for understanding and engaging with
social justice, identities, and inclusion. The assignment includes relevant criteria and standards,
which is an example of how I would incorporate criteria and standards to help promote selfassessment in the course. It should be noted that for the Reflection Paper assignment, students
are being asked to complete a self-assessment of their performance (Fink, 2003, p. 102) by
giving themselves a grade using the criteria and standards provided. Thus, this assignment not
only incorporates self-assessment into my larger goal for educative assessment, but it also
encourages learning as reflection, which is the second major component of active learning.
Overall, Im proud of the learning outcomes, feedback and assessment practices, and
learning activities I have incorporated into the classroom. I did not want this course to be simply
the contextual study of storytelling and social justice, but instead a place where we engage in
storytelling to better understand social justice in the lives of students taking the course. By
centering the voices of students in the classroom, and using literature to scaffold their knowledge
of storytelling and social justice, I believe I have created a syllabus that will facilitate significant
learning experiences. Fink (2003) reminded educators that significant learning requires that we
help students connect what they learn in our courses with their life file rather than just their
course file (p. 7). Based on my focus on assessment and significant learning activities (i.e.
storytelling), I believe this course allows students to do just that. The next section critically
evaluates and acknowledges the challenges faced in developing this syllabus.
Critical Reflection and Conclusion

STORYTELLING FOR SOCIAL JUSTICE

I understand that by creating a syllabus for this course I was engaged in a Doing
Experience (Fink, 2003, p. 116), which Fink described as a learning activity in which the
learners actually do that which we want them to learn how to do (p. 117). Knowing this, I feel
confident having had the opportunity to create a syllabus, especially as a graduate student. As a
student who seeks personal, meaningful understanding of the material being studied in the
course, I appreciated having the opportunity to create and expand upon an area of interest for me.
This process felt immensely liberating because, often as students, we are frequently reminded of
hierarchies and boundaries in higher education between learners and experts. Being able to
create a syllabus often seems like a rite of passage only reserved for faculty. Having the
opportunity to develop a course helps me see myself as a facilitator of learning and better
informs my understanding of what faculty face every semester.
Even though I followed Finks (2003) course instruction model closely for the Initial
Phase, I was overwhelmed by the amount of information that quickly adds up in a syllabus.
Nilsons (2010) criteria for a syllabus suggested twenty-three items, and while Nilsons (2010)
framework is different than Finks (2003), as a student trying to integrate and balance both
sources of information, I found myself overwhelmed. It was much easier for me to provide a
course description, instructor information, learning outcomes, assessment and feedback
opportunities, and learning activities than it was to identify course themes, grading rubric, or
create a fifteen-week syllabus. The volume of tasks and items an instructor has to complete is
overwhelming. As such, I cannot help but wonder whether course design or ones instructional
approach becomes easier to navigate when you already have a course curriculum in place that
you can revisit and redesign. I would posit that the process of revisiting and redesigning a course
using Finks (2003) model lends itself to a much stronger course than creating a course for the

STORYTELLING FOR SOCIAL JUSTICE

first time. For example, I spent a great deal of my time in the syllabus focusing on learning
outcomes and subsequently determining assessment opportunities and learning activities.
However, I also know that I need to spend additional time providing detailed explanations of the
assignments and learning activities I have included in the syllabus to fully ensure integration.
Ultimately, I wonder if I am tackling too much in one course by discussing both
storytelling and social justice, and believe there is room for improvement around the ways in
which I currently introduce students to foundational knowledge around these two topics. While I
paid close attention to social identities and diversity in my Course Framework, I could stand to
improve my own foundational knowledge and expertise of storytelling and social justice. This
would help strengthen my facilitation of in-class activities and reading assignments. I focused
on the Initial Phase of Finks (2003) integrated course design model, and can stand to pay closer
attention to the remaining two phases. I value the opportunity to practice course design, but also
recognize that my capacity to further ensure integration across learning outcomes, assessment,
and learning activities will improve with additional practice, feedback, opportunities, and
implementation. Hopefully, I have the opportunity to implement this seminar course in the
future!

STORYTELLING FOR SOCIAL JUSTICE

References
Bell, L. A. (2010). Storytelling for social justice: Connecting narrative and the arts in antiracist
teaching. New York, NY: Routledge.
Fink, L. D. (2003). Creating significant learning experiences: An integrated approach to
developing college courses. San Francisco: Jossey-Bass.
Nilson, L. B. (2010). Teaching at its best: A research-based resource for college instructors. San
Francisco, CA: Jossey-Bass.

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10

Appendix A
LOYOLA UNIVERSITY CHICAGO
UNIV 101: Storytelling for Social Justice
Spring 2016
Mondays, 7-9:30 PM
Lakeshore Campus, Cuneo 103
Instructor Information:
Naseeb K. Bhangal
M.Ed. Candidate, Higher Education
San Francisco Hall 104
6327 N. Kenmore Avenue
Chicago, IL 60660
773-508-3041
nbhangal@luc.edu
Office hours are scheduled by appointment.

Course Description:
This seminar course is meant for students interested in exploring and utilizing storytelling as a
pedagogical tool for disrupting dominant narratives. This course will confront and seek to better
understand oppression and inequities in our broken world as well as potential strategies for advancing
social justice through storytelling.
According to Lee Ann Bell (20010), storytelling is a universal human experience through which we learn,
maintain culture and community, and bridge collective realities with individual experiences. For Bell
(2010), stories are analytic tools, which students and educators can use to deconstruct and dismantle
forms of oppression, i.e. racism, sexism, heterosexism, ableism, and classism (to name a few), in the
classroom. Bell (2010) differentiates between storytellings capacity to re-inscribe social norms and
hegemonic ways of thinking with its ability to enable critical consciousness and alternative visions for
human relations and societal structures.
By the end of this course, you will have developed a well-reasoned, personal position on storytelling, Lee
Ann Bells (2010) community storytelling model, and social justice in your own lives and others lives.
You will be able to express and support your position orally and in writing, while acknowledging its
weaknesses and realizing that stories can be told in many different ways to challenge the dominant
narrative. Hopefully, you will move on from this class with an increased comfortability with the
uncertainty and diversity of perspectives in storytelling and with sharing your stories in spite of it.
Central Themes:
Theme I: (Re)Learning Storytelling. This class will grapple with the medium of storytelling and
evaluating many of the (mis)perceptions about it. We will explore who can construct and share
stories, how stories can be utilized to deliver an individual, social, dominant, or collective
message, and how stories can be integrated across disciplines, contexts, and settings.

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11

Theme 2: Application of storytelling through Who I am and Who We Are story types, class
conversations, and storytelling interview assignment. In order to understand storytelling, students
will be asked to construct and share their stories in the classroom. Students will have the
opportunity to receive feedback directly from the class about their stories in addition to having
the opportunity to self-assess their work.
Theme 3: Exploring Identity through Storytelling. Engaging in storytelling necessitates a strong
understanding of self. In order for storytelling about oppression and power in diverse groups to be
effective, the rules of engagement must be clearly established. There must be a community in
which each persons voice and story can be heard. This coursethrough classroom, coursework,
and storytelling experienceswill help students critically examine their social identities, values,
and how their stories interact with concepts of oppression, justice, and power.
Theme 4: Determine personal position on storytelling and social justice. Students will be asked to
share what their position is on storytelling as a medium for understanding social justice and
whether they intend to use storytelling in their future professional and personal work.
Course Framework and Pedagogy:
Education either functions as an instrument which is used to facilitate integration of the younger
generation into the logic of the present system and bring about conformity or it becomes the practice of
freedom, the means by which men and women deal critically and creatively with reality and discover how
to participate in the transformation of their world. Paulo Freire, Pedagogy of the Oppressed
-

Critical pedagogy: This class values students and their lived experiences equally as much as the
course content. This seminar course is grounded in the belief that students, along with the
instructor, are holders and creators of knowledge. As such, my approach to this course is as a
facilitator or learning. I recognize that students are bringing in valuable lived experience and
knowledge about storytelling, oppression, privilege, and justice into the classroom. Ultimately, I
expect you to co-construct knowledge about storytelling and social justice in this course.

Critical reflection: Classroom activities are designed to stimulate student reflection and meaningmaking regarding thoughts, feelings, and experiences associated with storytelling and social
justice. The telling of stories in class provides a shared reference point for community learning
and collective reflection on course themes. This affords the opportunity to move beyond
individual reflection to deeper levels of critical reflection about students current and ongoing
experiences with the formation and telling of their own story(-ies). This includes examining
considerations of identity, context, and process as they are happening versus solely after the fact.

Diversity: This course approaches the topic of storytelling from a lens grounded in social justice.
Particular attention is paid to narrating and exploring the social and intimate experiences of
oppression, power, and justice in the classroom through stories. Students in the course will be
introduced to literature, activities, and assignments that emphasize storytelling as a tool for
empowerment, and students will also engage in developing and sharing their own stories in class
to help promote awareness and facilitate critique of dominant narratives in society.

Course Objectives:
This course will provide a detailed understanding of storytelling for social justice through scholarly texts
and key theories (i.e. Lee Ann Bell). Students will study and consider the relevance of storytelling for
social justice in their own lives.

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12

Upon completion of the course, student will:

Foundational Knowledge:
-

Identify characteristics of a storytelling community with peers in the classroom.

Explain storytelling for social justice practices and philosophies (i.e. Lee Ann Bell; Noel Tichy).

Application Goals:
Develop one story using Lee Ann Bells model in order to challenge the dominant narrative.
Assess or refute how storytelling is used to critique dominant narratives.

Integration
-

Gather information about storytelling by interviewing a family member about their experiences
with storytelling.

Human Dimension
-

Provide peer feedback for stories shared in the classroom.

Define their own beliefs, identities, and relationships in their Who I Am narrative.

Caring
-

Identify sources of hope and transformative social change from the stories shared by classmates
in the course.

Learning How to Learn Goals

-

Reflect upon personal experiences with storytelling practices to better understand dominant
narratives and social justice.
Present in writing a well-reasoned personal position on the role of storytelling and social justice
in your own life.

Institutional Policies & Philosophies:

Academic Honesty
Academic honesty is an expression of interpersonal justice, responsibility and care, applicable to Loyola
University faculty, students, and staff, which demands that the pursuit of knowledge in the university
community be carried out with sincerity and integrity.
The Policy on Academic Integrity can be found at: www.luc.edu/education/resources/academicpolicies/academic-integrity/
For additional academic policies and procedures refer to:
www.luc.edu/education/resources/academic-policies/
Accessibility
Students who have disabilities which they believe entitle them to accommodations under the Americans
with Disabilities Act should register with the Services for Students with Disabilities (SSWD) office. To
request accommodations, students must schedule an appointment with an SSWD coordinator. Students
should contact SSWD at least four weeks before their first semester or term at Loyola. Returning students

STORYTELLING FOR SOCIAL JUSTICE

13

should schedule an appointment within the first two weeks of the semester or term. The University policy
on accommodations and participation in courses is available at: www.luc.edu/sswd/
EthicsLine Reporting Hotline
Loyola University Chicago has implemented EthicsLine Reporting Hotline, through a third party internet
& telephone hotline provider, to provide you with an automated and anonymous way to report activities
that may involve misconduct or violations of Loyola University policy. You may file an anonymous
report here on-line or by dialing 855-603-6988. (within the United States, Guam, and Puerto Rico)
The University is committed to the highest ethical and professional standards of conduct as an integral
part of its mission of expanding knowledge in the service of humanity through learning, justice and faith.
To achieve this goal, the University relies on each community member's ethical behavior, honesty,
integrity and good judgment. Each community member should demonstrate respect for the rights of
others.
www.luc.edu/ethicsline

Requirements & Expectations:

Preparation
This course is designed so that learning emerges from group discussion and student engagement with
each topic as well as through personal reflection and participation in storytelling within the classroom. As
such, preparation through completion of each weeks readings as well as thoughtful reflection on the
topics is critical not only for each individuals intellectual development, but the groups collective
development as well. Readings have been purposefully selected for their relevance to the given topic and
contribution to the overall literature. Given much thought has gone into the selection of readings, students
are expected to complete them in advance of each class. Occasional quizzes and reading for meaning
activities may be incorporated into the grading structure should evidence emerge that students are not
completing the necessary reading. At the mid-semester point, you will evaluate your participation in the
classroom, which accounts for 10% of your grade. You will be provided a rubric for this in class.
Class Participation
Given the seminar format of this course design, student participation in discussions and learning activities
is critical. However, it is important to note that how a student participates is often a function of their
particular learning style. Therefore, participation is less about the frequency with which a student engages
in class discussion and more about the quality of the contributions. For the purposes of this course,
participation is valued in which students build upon one anothers comments, provide meaningful
connections to practice, share critical observations, and insight on a topic, and generally increase the
complexity and richness of the discussion. Students are also encouraged to act as gatekeepers to the
conversation and encourage participation of others as well as pose questions to one another.
Attendance
You must be present to engage fully in the course content. I understand that sometimes life priorities can
make this challenging. However, the expectation is that you will be present for the full class session each
week.Should you miss a class, arrive late, or leave early, you are responsible for identifying and obtaining
missed material from your peers. Within two weeks of a missed class, you are expected to send the
instructor a short essay on the assigned readings for the class you missed. This essay should be
between 1-3 pages, single spaced, and summarize the core content of the readings and your
reactions to it. Please notify the instructor via email prior to the start of class should you need to be

STORYTELLING FOR SOCIAL JUSTICE

14

absent. Any absence will result in the loss of participation points for that day. Routinely arriving or
leaving late will result in the loss of participation points as well.
Cell Phones
If you bring a cell phone to class, please be sure it is either off or se to a silent mode. Texting and/or
instant messaging are not allowed during class as a matter of respect to the learning community.
Email/Sakai
Email will be used as the primary mode of correspondence for this course. As such, it is imperative that
you activate your Loyola University Chicago account and check it daily. Please also check your Loyola
spam email to ensure course related messages are not misdirected.

Reading Course Texts:

Please purchase your books as soon as possible as readings will be assigned for the second week of class.
Required Texts:
Bell, L. A. (2010). Storytelling for social justice: Connecting narrative and the arts in
antiracist teaching. New York, NY: Routledge.
Tichy, N. & Cohen, E. (2002). Leadership engine. New York, NY: Harper.
Additional Readings:
Additional readings will be provided in the form of documents accessible via the Sakai site for this
course. You are not required to print or bring these to class, but are responsible for reaching them. The
instructor may add additional readings not listed in this syllabus during the semester.

Assignments:
The following assignments are due at the time specified in the course syllabus and should be determined
according to the directions provided. Assignments are expected to be turned in on time so please plan
appropriately to avoid unnecessary penalties. Any assignment submitted after the due date will be reduced
by a half letter grade. An additional full letter grade reduction will be applied for each 24-hour period
after the original time due. Extensions will be not be granted. Note that the instructor will not hunt down
missing assignments and it is your responsibility to ensure that they are turned in by the stated deadlines.
Participation: 10%
[See above for more information.] At the mid-semester mark, you will be provided a participation rubric
that you will complete and submit. You will be asked to evaluate yourself in the following areas:
promptness, quality of contributions, significance of contributions, general engagement, storytelling, and
listening/attending skills. You will submit your participation grade into the instructor, which will be
entered into your final evaluation grade.
Much more detail on the participation grading rubric will be forthcoming in class.
Who I am Story: 20%
Presentation: 5-10 minutes and 4-6 pages
Story Selection

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15

Consider a selection of stories from your past that you consider to be ones that have shaped you in some
way or had a significant impact on you. The purpose of the story should be to communicate something
about you such as your social identities, values, or life direction. The story should involve some sort of
turning point in your life. Usually these events are of a surprising nature and possibly unwanted. Choose a
story that you feel safe sharing. Please know that there is NO expectation that this story should reveal
incidents from your life that you would prefer remain private. Be sure to have a title for your story and
begin both the written and speaking versions with the point of your narrative.
Classroom Presentation
The presentation in class is an opportunity to refine your skills of storytelling in public. You can choose
to read your story. Your sharing of the story can last anywhere from 4-10 minutes. Please allow a few
minutes for feedback from the class. Im allowing 15 minutes for each presentation and
feedback/discussion.
Written Version
Writing your story allows you to be more intentional about the details in your story and to develop it
without the nervousness of public speaking as a distractionin a way that you remember it occurring.
Your story should be coherent. It should fit together and possess a flow. Use Ramsdells (2010) article to
complete your Who I Am story check-list. Only include details and contextual factors that fit with your
story. In other words, What does the reader/listener need to know to understand this story?
The Bell Story: 20%
Presentation: 2-3 minutes and 4-6 pages
Story Selection
Consider a selection of stories that you would consider to fit into Bells four story types, i.e. stock stories,
concealed stories, resistance stories, and counter stories.
The purpose of this selected story is that it in some way reflects one of the four types of stories reviewed
in Bells (2010) model. You should identify and share an experience you have had navigating a dominant
narrative, an instance of hiding your own narrative, learning about a leader or family member, or
presenting your own counter-narrative as a conversation with the larger dominant narrative.
Remember that these stories can center around a variety of things: a symbol, book, film, expression,
monument, or ritual. These stories matter because they create a sense of identity for you or the social
groups you belong to. Examples might include the following: Participating in a course where stories
about your identity, culture, or history were not represented. How did you feel? How do you feel now as
you reflect back on that course? Where did you experience oppression/injustice? What were your sources
of power/resilience? Rely on the in-class social identity activity you participated in with Joe Saucedo, the
Director of the Student Diversity and Multi-Cultural Affairs Department. Your Bell story may highlight
the communities you come from through the sharing of a story about a community injustice, or the
existence of a community event/organization (i.e. Black Lives Matter).
Again, you will be presenting this story in class in front of your peers and should anticipate receiving
feedback from your peers regarding your story. In order to do well on this assignment, you story should
reflect on of the four types of stories Bell (2010) noted. The feedback you receive for this assignment
should be utilized to complete your Self-Assessment and Reflection Paper assignment.

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Much more detail on this assignment will be forthcoming in class.

Reflection Paper & Self-Assessment: 10%
Using the feedback you received from your Bell Story, write a 3-4 page reflection paper on your
experience with storytelling as a medium for communicating your social identities and experiences with
oppression, privilege, and social justice.
Focus of the Paper
Your paper should involve the description of the story you shared and its purpose. Please note that you
should not summarize your Bell Story for this assignment. Your reflection paper, should not only focus
on what you shared in your Bell Story but should also reveal how you felt when sharing your story with
the class. What was easy? What proved to be challenging in sharing your story? Was it easier to write
your story than sharing it in-person? Your paper should include strengths and limitations, and you should
use peer feedback from the class, along with course readings, to provide support for your learning. Much
more detail on this assignment will be forthcoming in class.
**You will be completing a self-assessment rubric for this reflection paper (see below), which will be
incorporated into your final grade. This self-assessment rubric needs to be completed and submitted
alongside of the reflection paper. Please copy and paste this rubric to the bottom of your paper.
Levels/Criteria
Reflection

Quality of Writing
and Proofreading

Overall Quality of
the Reflection Paper

Adherence to
Reflection Paper
Requirements

Excellent (9-10)
Demonstrates
reflection of
personal growth,
personal awareness,
and increased
understanding of
storytelling as a
pedagogical tool for
social justice. All
reflection no
summarizing.
The writing is free
of grammatical
spelling or
punctuation errors.
They style of
writing facilitates
communication and
no editing is
required.
Work is organized
and structured in a
way that
demonstrates clear
thinking.
Incorporates peer
feedback.
Meets all of the
assignment
requirements.

Satisfactory (7-8)
Begins to
demonstrate
reflection of
personal growth,
personal awareness,
and understanding
of storytelling as a
pedagogical tool for
social justice. Some
summarizing and
some reflection.
The writing is
largely free of
grammatical
spelling of
punctuation errors.
The style of writing
generally facilitates
communication and
minor editing is
required.
Work is organized,
but may lack
demonstration of
clear thinking.
Some peer feedback
is incorporated.

Unsatisfactory (5-6)
Demonstrates
minimal reflection
of personal growth,
personal awareness,
and storytelling as a
pedagogical tool for
social justice.
Mostly
summarizing,
instead of reflection.

Meets some of the

assignment
requirements.

Meets few
assignment
requirements.

There are numerous

grammatical,
spelling or
punctuation errors.
They style of
writing does not
facilitate effective
communication and
requires major
editing and revision.
Work is poorly
organized and lack
demonstration of
thinking. No peer
feedback is
included.

Incomplete (0)

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StoryCorp Interview Assignment: 15%

Each student will select and interview a family member (does not have to be immediate family) using the
StoryCorp application. For students who do not have smartphones, a recorder will be provided. Interviews
will focus on deepening the understanding of storytelling and how to use storytelling to learn about the
experiences of a family member as it relates to their social identities, privilege, power and social justice.
You will submit the interview into the StoryCorp application or through a recorder. You will be invited to
discuss the family member you interviewed and will be asked to interpret the data from the interview
during the class using Bells (2010) storytelling model.
For more information on StoryCorp, please visit the following website: www.storycorp.org.
Much more detail on this assignment will be forthcoming in class.
Position Paper: 25%
In the culminating course assignment, I will ask you to develop a well-reasoned, personal position on
storytelling, Lee Ann Bells (208) community storytelling model, and social justice in your own lives and
the lives of others. Your position paper must contain the following elements: 1) You are invited to use the
contents of your StoryCorp interview and the in-class stories and feedback for this paper along with
course readings. 2) You should identify in your paper whether you see storytelling as a useful or practical
medium for learning about topics of privilege, social justice, and power in your future. 3) You should note
limitations and strengths of storytelling in your paper and support these claims with your semester-long
learning. 4) You should focus on what you have learned about storytelling since the beginning of the
semester, and your experience(s) with writing and orating your stories in the classroom in front of your
peers. 5) Please note a reflection on your own learning from this assignment. Much more detail on this 68 page paper will be forthcoming in class.

Evaluation & Grading:

All coursework and assignments must be completed by the end of the semester as grades of incomplete
are generally not assigned. The series of assignments identified will create a space for students to pursue
more depth of study on storytelling and social justice. The distribution of points for the semester is
provided in the grid below:
Participation
Who I Am Story
The Bell Story
StoryCorp Interview
Self-Assessment & Reflection Paper
Position Paper
Total

10 points (Self-evaluation)
20 points (Peer evaluation)
20 points (Instructor Evaluation)
15 points (Instructor evaluation)
10 points (Self-evaluation)
25 points (Instructor Evaluation)
100 points

The approach to evaluation of student learning reflects an attempt to deconstruct traditional academic
evaluation structures, i.e. audit-ive-type assessment, and adopt a learner-centered orientation. This means
that students will receive evaluative feedback from the instructor as well as offer a personal evaluation of
their performance for the aforementioned assignments. Additionally, peers will be asked to provide their
feedback.
Students are encouraged to consult with the instructor regarding any questions any questions associated
with assignments.

STORYTELLING FOR SOCIAL JUSTICE

The following points spread will be used to determine the final course grade:
Total Points Earned

Final Grade

100-94
93-90
89-87
86-84
83-81
80-78
77-75
74-72
71-69
68-66
65-63
62-60

A
AB+
B
BC+
C
CD+
D
DF

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Running head: STORYTELLING FOR SOCIAL JUSTICE

19

Course Outline: You are responsible for all materials listed below.

Dates
Monday, January
25, 2016

Topics/Themes & Teaching

and Learning Activities
Theme I: (Re)Learning Storytelling.
Introductions, course overview,
overview of readings, and course
themes

Readings or Tasks (Due on this Date)

*Prior to class, you need to watch Chimamanda
Ngozi Adichies Danger of a Single Story.
Overview of Lee Ann Bell (2010) Storytelling for Social
Justice
Overview of Noel Tichys (2002) Leadership Engine.

Assignments (Due on this Date)

and In-Class Activities
In-Class Activity:
Discuss the Danger of s Single Story
how have you used stories?
Establish Community Expectations for
Storytelling

Monday, Feb. 1,
2016

Theme I: (Re)Learning Storytelling

Overview Who I Am story
assignment and planning process (i.e.
timeline; small group practice)

Complete reading of Lee Ann Bell (2010) Storytelling for

Social Justice: Introduction & Chapter 1
Complete reading of Tichys (2002) Leadership Engine:
Chapter 4

In-Class Activities:
Group discussion: Teach back activity on
Bells (2010) readings.
Complete personal storytelling timeline
what are critical turning points in your life?

Monday, Feb. 8,
2016

Theme I: (Re)Learning Storytelling

Revisit Who I Am story assignment
and answer questions about
assignment

Complete reading of Tichys (2002) Leadership Engine:

Chapter 6

DUE: Draft of Who I Am story outline

In-Class Activities:

Complete reading of Ramsdell (2010): Storytelling,

Narration, and the Who I Am Story

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20
Workshop story outlines in groups; peers
provide feedback on outline using Ramsdell
and Tichys readings.
Invite two-three students from past class to
demonstrate Who I Am stories | Practice
giving and receiving feedback to storyteller.
DUE: First four students share Who I
Am story

Monday, Feb.
15, 2016

Theme 2: Application of storytelling

Monday, Feb.
22, 2016

Theme 2: Application of storytelling

DUE: Next four students share Who I

Am story

Monday, Feb.
29, 2016

Theme 2: Application of storytelling

DUE: Next four students share Who I

Am story

Watch: Julian Friedmann: The mystery of Storytelling

In-Class Discussion: McAdams & Guo

Article
Monday, March
7, 2016

SPRING

BREAK

Monday, March
14, 2016

Theme 2: Application of storytelling

McAdams & Guo (2014): Narrative Inquiry & Life Story

Overview StoryCorp Interview

Assignment & Mid-Semester
Participation

DUE: Last four students share Who I

Am story

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21

Monday, March
21, 2016

Theme 3: Exploring Identity through

Storytelling.

Complete reading of Lee Ann Bell (2010) Storytelling for

Social Justice: Chapters 2-5

In-Class Discussion: Guest Speaker, Joe

SaucedoIdentity Development; Social
Justice Terminology

Monday, March
28, 2016

Theme 3: Exploring Identity through

Storytelling.

Watch Storytelling for Social Justice:

https://www.youtube.com/watch?v=DdgpOIy6sg4

DUE: StoryCorp Interview Assignment

& Mid-Semester Participation

Overview Self-Assessment/Reflection
Paper Assignment for the Bell Story

https://www.youtube.com/watch?v=zdbitRlDK5g

In-Class Activity:

Clandinin, D. J., & Huber, J.: Narrative inquiry.

Summarize who folks interviewed and share

one thing they learned about storytelling
from their interview.
Brainstorm stories for all four types of
Bells (2010) model; Share in small groups.

April 4, 2016

Theme 3: Exploring Identity through

Storytelling.

DUE: First five students share their Bell

Story

April 11, 2016

Theme 3: Exploring Identity through

Storytelling.

DUE: Second set of five students share

their Bell Story

April 18, 2016

Theme 3: Exploring Identity through

Storytelling.

DUE: Final six students share their Bell

Story

April 25, 2016

Theme 4: Determine personal position

on storytelling and social justice.

Complete reading of Lee Ann Bell (2010) Storytelling for

Social Justice: Chapters 6
A. P. J. Abdul Kalam and Mahatma Gandhi (1927): The
Story of My Experiments with Truth, Chapter XV

DUE: Self-Assessment/Reflection
Assignment for the Bell Story

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Senehi, Jessica, et al. (2009) "Dreams of our
grandmothers: Discovering the call for social justice
through storytelling."

May 2, 2016

Theme 4: Determine personal position

on storytelling and social justice.

In-Class Activity: Group case-studyhow

do you cultivate a counter-storytelling
community on Loyolas campus?

DUE: Position Paper on Storytelling