Running head: DIGITAL STORYTELLING

Collaborative Inquiry Project

An Annotated Bibliography and Literature Review of Digital Storytelling

Anita Heitz
Claudia Marchessault
Catherine Sverko
Stephen Tod
Karina Zanrosso

ETEC 532, Section 66A

The University of British Columbia

Dr. Alexander De Cosson

July 24, 2016

Annotated Bibliography

DIGITAL STORYTELLING

Annotated Bibliography
Alexander, B., & Ebooks Corporation. (2011). The new digital storytelling: Creating narratives with
new media. Santa Barbara, Calif: Praeger.

The New Digital Storytelling provides a detailed if not definitive understanding of the use
and implementation of Digital Storytelling in any forum. He explores not only the history of
digital storytelling but also goes not to look at its future. He investigates digital storytelling
platforms as well as how to build your story platform in order to ensure your digital story
flows. Chapter 14 is dedicated to digital storytelling in Education highlighting that digital
storytelling lets students own their creative work, taking the narrative process to
themselves (Alexander 2011, p. 216). Alexander explains constructivist and assessment
types of digital storytelling and that the two can be combined using two distinct rubrics.
He cautions the creation of digital stories needs time and patience.

Baltruschat, D. (2004). Television and canada's aboriginal communities: Seeking opportunities

through traditional storytelling and digital technologies. Canadian Journal of
Communication, 29(1), 47.

Baltruschat explores the history and impact of digital forms on the identity and storytelling
of Canadas First Nations tracing back to the beginnings of transmission of radio in the
1920s. More recently, the introduction and growth of the Aboriginal Peoples Television
Network (APTN) has aided and improved the importance of accessing production
opportunities to explore and preserve culture and language. This essay is broken into
two distinct areas, the positive effects and growth of Aboriginal storytelling through digital
means and the fine line that has to be walked to continue to document local histories,
culture and identity while navigating global 21st-century mediums. Baltruschat proposes
that APTNs model of focusing on youth helps build loyalty while also preserving culture

DIGITAL STORYTELLING

and passing on stories and values from generation to generation in a way that would not
have been possible even 50 years ago.

Cunsolo Willox, A., Harper, S. L., & Edge, V. L. (2013). Storytelling in a digital age: Digital
storytelling as an emerging narrative method for preserving and promoting indigenous
oral wisdom. Qualitative Research, 13(2), 127-147.

What began as a simple investigation into the effects of climate change on indigenous
communities turned into something much larger. As a means to record past events and
preserve culture for future generations, researchers in the community of Rigolet, NL,
conducted an interview-based narrative from all members of the community to be
preserved digitally. Issues raised in this article include how many Aboriginal communities
dont have access to the tools or knowledge necessary to create digital stories. However,
by creating these stories, Aboriginal communities will be able to preserve and promote
indigenous oral wisdom, while engaging community members, developing capacities, and
celebrating myriad stories, lived experiences, and lifeworlds.. (Cunsolo et. al, 2013)

Donnelly, B. F. (2010). Digital portfolios and learning: The students' voices (Order No. 3404957).
Available from ProQuest Dissertations & Theses Global. (522263812). Retrieved from
http://ezproxy.library.ubc.ca/login?url=http://search.proquest.com/docview/522263812?
accountid=14656
In this 2010 study, Donnelly looks at how effectively digital portfolios help 27 high school
students tract and reflect upon personal academic growth. This study stems from the
premise that digital portfolios are a unique way to engage students and help them take
ownership of their own learning as they are thought to encourage self reflection and
metacognition. The students in this qualitative study were required to complete digital
portfolios to represent their learning throughout their highschool years. What Donnelly
(2010) found through his study was that while digital portfolio were seen by students as a

DIGITAL STORYTELLING

great way to organize their learning artifacts and were seen to be a great reminder of
their personal learning journey, digital portfolios were not conclusively linked to personal
reflection and metacognition in these students.
Lambert, J. (2012). Digital Storytelling: Capturing Lives, Creating Community (4th ed.). New
York: Routledge.

Digital Storytelling: Capturing Lives, Creating Community provides a broad introduction to

the genre of digital storytelling. Lambert (2012) connects the growth of the digital
storytelling phenomena as well as its evolution to the emergence of new, more
democratic media forms. Lambert (2012) roots the effectiveness of digital storytelling
within our affective relationship to sensory information as well as storytellings rich
contextualization, and points out how storytelling is a shared tradition and unifying human
experience. As an expressive form, Lambert (2012) suggests that personal digital
storytelling allows for shifts in perspective and often produces therapeutic effects,
especially as related to issues of identity negotiation or social dislocation.
Niemi, H., & Multisilta, J. (2015). Digital storytelling promoting twenty-first century skills and
student engagement. Technology, Pedagogy and Education, , 1-18.
doi:10.1080/1475939X.2015.1074610

This study presents data gathered from elementary and secondary school students in
Finland, Greece, and California which suggests that digital storytelling promotes student
skills development in four key mediator areas: media competencies and digital literacy,
collaboration, knowledge and skills creation, and networking. The results of the study
assert digital storytelling as a mode of twenty-first century learning which fosters high
learner-engagement, enthusiasm, and motivation. By taking advantage of the creative
potential of modern communication technologies, students are encouraged to become
creators, producers, and critics of digital media, rather than simply passive audience

DIGITAL STORYTELLING

members . Notably, the study highlights the importance of ensuring that a pedagogically
relevant digital environment is selected for student-driven media creation to enhance
student learning outcomes.
Ohler, Jason. (2008). Digital storytelling in the classroom: New media pathways to literacy,
learning, and creativity. Journal of Media Literacy Education, 3(2), 134-136.
In Ohlers article, he outlines several advantages of using digital storytelling within the
classroom and suggests that all content areas can benefit from their incorporation into
teaching. Ohler also states that at the core of digital stories is the concept of literacy and
that these stories can engage otherwise reluctant students in literacy development
(Ohler, 2008). In addition to engagement and literacy development, he also comments on
the natural merge of media literacy as a teachable aspect within digital storytelling. In
addition, there are many opportunities for teachers to assess within digital stories in
areas such as: planning, research, comprehension, writing, and organization. Essentially,
through the storytelling process, students are given opportunities to becomes better
communicators, as these stories help students tell more effective storiesto understand
students through their stories[and] to help students grow through their stories (Ohler,
2008).
O'Rourke, M. (2004). Australian screen education: Digital learning portfolios: A critical look
Australian Teachers of Media.
Throughout this article ORourke (2004) takes a critical look at the use of digital portfolios
in the classroom to create a story centered on student learning. Within this article
ORourke (2004) highlights some factors that teachers should take into consideration
prior to implementing digital portfolios into their practice and how to troubleshoot some of
the technical hurdles that teachers may encounter. Not only does ORourke (2004)
provide a guideline as to how to implement portfolios into ones practice, she also gives
reasoning as to how it can improve student learning and give students a voice and a
creative outlet when demonstrating their learning. Furthermore ORourke (2004)

DIGITAL STORYTELLING

highlights some privacy issues that both educators and parents need to be aware of
when using digital portfolios to share student growth and learning.
Rance-Roney, Judith. (2008). Digital Storytelling for Language and Culture Learning. Essential
Teacher, 5(1), 29-31.
In this article, Rance-Roney explores the power of using digital stories in shaping an
understanding of culture, as well as a powerful way to incorporate language acquisition
for English Language Learners. She argues that the digital storytelling process is
nonlinear, and the process itself encourages skills such as revision, editing, and
practicing pronunciation through re-recording. In producing a digital story, she reminds us
For English Language Learners, producing a digital story engages them in creating,
using, and perfecting all of their emerging language skills in remarkable synergy (RanceRoney, 2008). This article also outlines several specific projects that promote cultural
understanding around identity, concluding that digital stories also prove to be a platform
for students to explore feelings about their own culture and those of others. In addition to
language acquisition and cultural exploration opportunities, this article also reminds us
that the product itself can act as a portfolio of student work and progress that can
celebrated and showcased.
Robin, B. R. (2008). Digital Storytelling: A Powerful Technology Tool for the 21st
Century Classroom. Theory Into Practice, 47(3), 220-228.
doi:10.1080/00405840802153916
Bernard Robin responded to the MARCH 2007, U.S. Department of Education report to
Congress that concluded there were no significant differences in student achievement
between the classrooms that used the technology products and classrooms that did not
(p. 1). Robin explains the flaws behind the study and cites several scholarly articles that
support his point of view. He explains how digital storytelling can develop students who
are creative storytellers through the traditional processes of selecting a topic, conducting

DIGITAL STORYTELLING

research, writing a script, and developing an interesting story. This material is then
combined with various types of multimedia. Robins provides a compelling case as to how
digital storytelling in combination with TPAK introduced by Mishra and Koehler (2006,
2007) can be a potent learning experience that encompasses much of what society
hopes that students will know and be able to perform in the 21st century (Jakes &
Brennan, 2005). Students may also benefit from learning to critique their own work, as
well as the work of others, facilitating social learning and emotional intelligence (Robin,
2008).

Royer, R., & Richards, P. (2008). Digital storytelling. Learning &

Leading with Technology, 36(3), 29. . Retrieved from
http://www.learningandleading-digital.com/learning_leading/200811?pg=31#pg30
This article explains how digital storytelling has emerged as an innovative practice that
allows students deeper engagement with content while encouraging the use of critical
thinking and technological skills needed to navigate the ever changing digital terrain of
the 21st century. In this article, Royer, R., & Richards, P. (2008), outline strategies for
improving reading comprehension into a digital storytelling project. These strategies
include, but are not limited to, active listening, fluency, asking questions, and reciprocal
teaching. The author demonstrates that digital storytelling not only helps in reading, but it
can also help in developing content knowledge and writing skills.
Sadik, A. (2008). Digital storytelling: A meaningful technology-integrated approach
for engaged student learning. Education Tech Research Dev Educational Technology
Research and Development, 56(4), 487-506. doi:10.1007/s11423-008-9091-8
Alaa Sadik in 2008, wanted to understand better and describe the impact on student
learning when teachers and students take advantage of digital storytelling. Although
research emphasizes the importance of integrating technology into the curriculum, the
use of technology can only be effective if teachers themselves possess the expertise to

DIGITAL STORYTELLING

use technology in a meaningful way in the classroom (Sadk 2008, p. 1). She goes on to
discuss the findings of Barrett (2006) who concluded that digital storytelling facilitates the
convergence of four student- centered learning strategies: student engagement,
reflection for deep learning, project- based learning, and the effective integration of
technology into instruction. Sadik cites Combs and Beach (1994) who stated storytelling
in the social studies curriculum develops students understanding of democratic ideals,
cultural diversity and participatory citizenship, improves their communication skills,
motivates them to learn about the past and present, and creates a class bond through
shared experiences.
Skinner, Emily N. (2008). Developing Identities with English Language Learners through
Digital Storytelling. The Reading Matrix, 8(2), 12-38.
Skinners article features two English Language Learners (one in Kindergarten, and one
in Junior High School) who draw upon their own experience and social cultural identities
to create digital stories; in this process, they are given opportunities to become
competent in new literacies. Skinner bases his claims on on the idea that literacy is a
social practice, and reminds us that 21 literacy skills require transversals across print
st

and non-print based formats (Skinner, 2008). In digital storytelling, there are diverse
opportunities to scaffold foundation literacies such as: the writing process, story
comprehension, reading and writing fluency, and vocabulary. Skinner also reminds us of
the motivation factor for ELLs to use digital stories to develop identify and language
skills, as they are able to express themselves through multimodalities. The digital story
itself is a piece that can be created and then shared, allowing opportunity for peer
feedback and reflection, along with further dialogue and language practice between
students. Lastly, Skinner emphasizes the potential digital stories have to connect
students to global communities where they can be active participants in the sharing
process.
Wall, K., Higgins, S., Miller, J., & Packard, N. (2006). Developing digital portfolios: Investigating

DIGITAL STORYTELLING

how digital portfolios can facilitate pupil talk about learning. Technology, Pedagogy and
Education, 15(3), 261-273.
Within this article Wall et al. (2006) look at digital portfolios and how they can facilitate
discussions around learning. The focus of this article is on the importance of students
having a strong voice in their education process and how digital portfolios can be used to
facilitate this. In the process of writing this article Wall and her colleagues (2006)
interviewed several students to gain their perspectives on digital portfolios and learning.
From the voices of students along with previous research Wall et al. (2006) provide
suggestions to educators implementing digital portfolios into their classrooms.
Weston, M., & Biin, D. (2013). The Ancestor Project: Aboriginal Computer Education through
Storytelling. International Association For Development Of The Information Society.
Weston investigates a new program at LAU, WELNEW Tribal School near Victoria, British
Columbia. This school has created a program to gain student interest in computer
education through use of digital storytelling. The first phase was the creation of a
summer camp targeting grade 6 Aboriginal students from the Victoria area. A curriculum
was created through the use of culturally-based approaches along with video tutorials
that were created with a storytelling slant. As seen in the results, students did become
more keen to learn new material, but the total immersion that was originally planned did
not come to full fruition. Next steps are being investigated to grow the program.
Wood, C., Fredericks, M., Neate, B., & Unghango, D. (2015). The stories we need to tell: Using
online outsider-witness processes and digital storytelling in a remote australian aboriginal
community. International Journal of Narrative Therapy & Community Work, (4), 40-54.
Wood, an occupational therapist, conducted a project in Kalumburu, Australia, an
Aboriginal community. The purpose of her project was to observe how digital storytelling
can be used as both a way to preserve Aboriginal culture as well as allow for healing
through storytelling. The effect of colonialism on Australias Aboriginal population is not

DIGITAL STORYTELLING

10

that different from the effects on Canadas indigenous peoples. Wood feels that healing
can occur through storytelling and by preserving is digitally it will be available to future
generations.
Yoon, Tecnam. (2013). Are you digitized? Ways to provide motivation for ELLs using digital
storytelling. International Journal of Research Studies in Educational Technology, 2(1),
25-34.
Yoons article focuses mainly on the benefits that digital storytelling have on English
Language Learners attitudes towards learning a new language, their engagement, and
their confidence in communication. These benefits are highlighted as the result of a 12week study involving 32 grade 5 ELL students experiencing digital storytelling in their
English class. Yoon argues that in todays digital world, integrating technology into
teaching and learning foreign languages is remarkable useful and necessary in
preparing ELL students to function in a rapidly-changing world (Yoon, 2012). He also
outlines the Ten Principles of Digital Storytelling: Interactive, Authentic, Meaningful,
Technological, Organized, Productive, Collaborative, Appealing, Motivating, and
Personalized. Yoon encourages teachers to consider these as invaluable ways that digital
storytelling can enhance student learning, particularly for ELL students. From the studys
results Yoon concludes that digital storytelling improved reading ability, promoted
motivation, engagement and interest, brought confidence to learners and helped improve
active participation. In short, digital storytelling increased ELL students motivation to
learn English.

11

DIGITAL STORYTELLING

Literature Review:
Introduction
In recent years, technology has emerged as a powerful instrument of creativity. The rapid
growth of audio- and video-recording technology has, and will continue to have, a dramatic
impact on the ways individuals are able to document and share their ideas, beliefs, and
perspectives. Storytelling, an ancient tradition and universally familiar ritual, has likewise
experienced a drastic transformation with the addition of sound, motion picture, and other forms
of multimedia. Simultaneously, podcasts,YouTube, and other electronic distribution systems
found on the internet have enabled stories to circulate to new and vastly larger audiences.
Notably, even in a ubiquitous, media-saturated culture, demand exists for narratives which reveal
a unique and personal perspective.
The rise of digital storytelling among marginalized groups, such as First Nations,
highlighted the dramatic impact sharing ones experience and insights can have, both for the
story-teller and the story-listeners, in navigating challenging topics, clarifying issues, and initiating
change (Wood et. al, 2015). Educational institutions, tasked with keeping up with the proliferation
of digital technologies and their implications for learning in the 21 century, have begun to coopt
st

digital storytelling for educational purposes (Niemi, H., & Multisilta, J., 2015). With current
generations born into a media-rich, networked world, and growing-up digital, digital storytelling
meets the demand for student engagement, self-directed learning, creative outlet, and selfempowerment (Niemi, H., & Multisilta, J., 2015).
In this literature review, we begin by looking at how digital stories can be employed in the
classroom and consider some of the resulting educational implications and benefits. We then
examine how digital storytelling has been adopted by special populations, specifically, First
Nations and English Language Learners and what can be extracted from their experience.
Finally, we look at digital storytelling as means for documenting student learning and experience
within a learning portfolio, and conclude with pedagogical suggestions for educators looking to
integrate digital storytelling into their practice. The overarching theme of this literature review is:

DIGITAL STORYTELLING

12

What are the positive learning aspects of digital storytelling and how can we harness them for use
in education?
Digital Storytelling: The Basics
Digital storytelling is the practice of creating multimedia complilations of photographs,
videos, animation, sound, music, text, and narrative voice to convey beliefs, ideas, or some
aspect of an individuals lived experience. The practice emerged as media creation and
production became increasingly accessible to the general population through personal
computers, digital cameras, voice recorders, and movie-making software. The development of
these technologies allowed individuals to not only document their stories digitally, but also created
greater opportunities for disseminating their stories by accessing audiences which can be
reached over the Internet. Whether the narratives are simple and straightforward or emotional
and complex, and whether they are intended for a larger public forum or simply for private use,
digital stories are considered to have many applications both within, and beyond, educational
contexts.
Digital stories may be used as an expressive medium within the classroom to integrate
subject matter and demonstrate knowledge. Students can work individually or collaboratively to
produce their own digital stories. Once completed, these stories are easily shared in the
classroom, on class website, or they can be uploaded to the internet and can be viewed by an
international audience (Roland, 2006).
Digital stories incorporate multimodal literacy skills. These skills refer to meaning-making
that occurs through the reading, viewing, understanding, responding to, producing and interacting
with multimedia and digital texts. Digital storytelling encompasses all of these skills. Digital stories
may include oral and gestural modes of communication as well as the writing, designing and
producing of such texts. The processing of modes, such as image, words, sound and movement
within texts can occur simultaneously and is often cohesive and synchronous (Walsh, M. 2010).
There are two significant themes emerging from current research into multimodal literacy
and these considerations have implications for classroom practice. The first theme is the effect of
the technological changes that are inherent in reading, writing and producing on screen

DIGITAL STORYTELLING

13

compared with reading and writing print-based texts. The second theme is related to the changes
that are occurring in the social practices of literacy which have changed and expanded
exponentially with the development of Web 2.0 technology (Walsh, M. 2010).
Royer, R., & Richards, P. (2008), outline strategies for improving reading comprehension
into a digital storytelling project. These strategies include, but are not limited to, active listening,
fluency, asking questions, and reciprocal teaching. The authors demonstrate that digital
storytelling not only helps in reading, but it can also help in developing content knowledge and
writing skills.
Looking beyond the explicit curriculum of educational institutions, Joe Lambert (2012)
further distils some of the opportunities presented by digital storytelling for students personal
development and growth. Digital stories and digital storytelling present a unique learning
modality, insofar as they can pass along knowledge and ideas, and document fleeting memories
so individuals can later revisit them to uncover embedded lessons or ideas. Digital storytelling
also presents reflective opportunities and a means for addressing our connections to the people,
places, and things around us, while the process of creating a digital narrative encourages
introspection and enables individuals to unpack and examine the many complexities of the
human experience (Lambert, 2012). Lambert (2012) also pinpoints digital storytelling as a way
for individuals to assert their social agency and presents a unique opportunity for individuals to
remove themselves, even momentarily, from the incessant onslaught of incoming information and
to become content producers as opposed to content consumers.
The study by Niemi, H., & Multisilta, J. (2015) assert digital storytelling as a mode of
twenty-first century learning which fosters high learner-engagement, enthusiasm, and motivation.
By taking advantage of the creative potential of modern communication technologies, students
are encouraged to become creators, producers, and critics of digital media, rather than simply
passive audience members.
Robins (2008) explains how digital storytelling can be used to develop students who are
creative storytellers through the traditional processes of selecting a topic, conducting some
research, writing a script, and developing an interesting story. This material is then combined with

DIGITAL STORYTELLING

14

various types of multimedia, including computer-based graphics, recorded audio, computergenerated text, video clips, and music so that it can be played on a computer, uploaded on a web
site, or burned on a DVD. Robins provides a compelling case as to how digital storytelling in
combination with TPAK introduced by Mishra and Koehler (2006, 2007) can be a potent learning
experience that encompasses much of what society hopes that students will know and be able to
perform in the 21st century (Jakes & Brennan, 2005). The push for students to gain 21st century
literacy skills by using the latest technology to communicate effectively is facilitated by students
actively participating in the creation process of digital storytelling (Jakes & Brennan, 2005). As
they do so, students develop enhanced communication skills as they learn to conduct research
on a topic, ask questions, organize their ideas, express opinions, and construct meaningful
narratives. Students who participate in the full digital storytelling experience may also benefit from
learning to critique their own work, as well as the work of others, facilitating social learning and
emotional intelligence (Robin, 2008).
Although the value of digital storytelling seems obvious, many teachers believe that
technology integration is a difficult, time-consuming and resource-intensive endeavor and is more
trouble than it is worth (Sheingold and Hadley, 1990). Sadik (2008) quotes Pederson reminding
us that storytelling is the original form of teaching (Pedersen 1995). She goes on to discuss the
findings of Barrett (2006) who concluded that digital storytelling facilitates the convergence of four
student- centered learning strategies: student engagement, reflection for deep learning, projectbased learning, and the effective integration of technology into instruction. Sadik (2008) looked at
digital storytelling in other curriculum areas and cites the research of Combs and Beach (1994)
who indicated that including storytelling in the social studies curriculum develops students
understanding of democratic ideals, cultural diversity and participatory citizenship, improves their
communication skills, motivates them to learn about the past and present, and creates a class
bond through shared experiences. Sadik (2008) concludes from her study that teachers can look
at digital storytelling as a new way to humanize the teaching and learning of science and bring
the beauty and power of mathematics to learners. She further concludes that digital storytelling
provided a real way to help students learn how to use technology effectively in their learning,

DIGITAL STORYTELLING

15

particularly if provided with appropriate digital resources and usable editing tools to further
motivate them into creating quality stories.
In The new digital storytelling: Creating narratives with new media (2011), author Bryan
Alexander dedicates Chapter 14 to digital storytelling in Education, highlighting that digital
storytelling lets students own their creative work, taking the narrative process to themselves
(Alexander 2011, p. 216). Alexander goes on to explain constructivist and assessment types of
digital storytelling and that the two can be combined using two distinct rubrics. He sees the value
of digital storytelling in all curriculum areas but cautions educators that it is not a snap process or
assessment. The creation of digital stories needs time and patience and will only provide the best
benefits if not rushed so that the creative process is allowed to happen organically.
Digital Storytelling with Aboriginal Learners
Canadas fastest growing population segment is Aboriginal peoples, growing from 2.8%
of the national population in 1996 to 4.3% in 2011. (Statistics Canada) In addition, about 28% of
all Aboriginals are under the age of 14. In the 21st century world, its possible that many
Aboriginal youth are not as exposed to traditional teachers as they once were. This is where
digital storytelling can be of benefit. With digital storytelling and Aboriginal learners, it becomes
possible to celebrate the individual and the collective, and to lend respect and credence to the
lived experiences of individuals. (Cunsolo Willox, 2013) Past traditions are kept for future
generations as a means to preserve culture and language though the use of images, recordings,
video and other means of creation.
Doris Baltruschat (2004) describes the beginnings of Aboriginal digital storytelling as a
counter against the non-indigenous cultural and social values (of radio and television), combined
with curricula and teaching from the South that were affecting the social dynamics of Aboriginal
peoples in Canada. That, combined with the effects of residential schools and the whitewashing
of television led to an identity crisis among Aboriginal youth who would spend more time focusing
on the heroes and stories on television than learning about their own cultures. (Baltruschat, 2004)
What limited cultural programming that was already in place as provided by CBC was only

DIGITAL STORYTELLING

16

shown in the early hours of the morning or late hours of the evening with daytime programming
dominated by national programming.
With the advent of the Aboriginal Peoples Television Network (APTN), digital storytelling
for Aboriginal peoples has grown immensely across Canada. Children now have the opportunity
to see ancient indigenous rites and cultures while also establishing an important record of
Native life in Canada. (Baltruschat, 2004) Baltruschat argues with the increase in media
accessibility across Canada and the ease of transfer from one digital medium to another, this
next generation of Aboriginal students and filmmakers can explore their own stories based on
diversity, balance and critical perspectives. (Baltruschat, 2004) Unfortunately, Baltruschat could
not foresee where programming would go, especially with the advent and explosion of the
Internet, YouTube and other social media platforms that take storytelling beyond traditional forms
such as radio and television. The traditional approach of broadcasting has changed and in the
wake of Idle No More much programming is aimed at a young Aboriginal population. Digital
storytelling is now seen as a way to keep youth engaged while learning about their cultures and
history. One such example is a program known as the Ancestor Project in British Columbia.
Marla Weston and Dianne Biin studied the influences of the Ancestor Project on the youth
of Vancouver Island Aboriginal children in 2013. The purpose of this study was building on
arguments made by Hopkins (2006) on the transformation of Aboriginal storytelling. He states
that digital storytelling has been occupied, transformed, appropriated and reinvented by native
people digital technologies have become a medium for speaking and telling our stories.
(Hopkins, 2006) In this, the Ancestor project was born and trialed on students in grades 7 to 10
attending an Aboriginal tribal school near Victoria, British Columbia. Curriculum designers for the
Ancestor project wanted to promote interest in computer programming through a game created
out of content using traditional beliefs and values. What Weston and Biin found was with the
added cultural components, student interest increased in content and subject matter. Coming
from a conclusion from the Canadian Council on Learning (2008), schools need to improve their
cultural inclusiveness of Aboriginal culture in their content to increase student engagement in
school. As well, there needs to be more work between elders and students as a means to bring

DIGITAL STORYTELLING

17

more traditional stories into the classroom that could be shared digitally. One example of this is a
project run by a teacher in Moosonee with the help of students known as the Portraits of our
Elders series.
With the newfound knowledge in creating digital stories, Aboriginal can expand beyond
the classroom to bring more awareness to cultural teaching and history as well as issues of
importance, such as climate change, as evidenced by Willox et. al. (2012) The research project
conducted was based in 2009 of out Rigolet, Newfoundland and Labrador, an Inuit village. In the
study, the goal was to engage and record the effects of digital storytelling as a means of mental,
emotional and spiritual health and well-being and the effects of climate change upon them. Like
the other articles above, the issue of colonialism and its effects on Aboriginal populations was a
starting point for the study. Rather than the researchers taking notes and transcribing the stories
using their own words, they wished to carefully, and with great sensitivity, (conduct) narrative
research in a manner that avoids marginalizing any individuals or communities like past project
could have. (Willox et. al, 2012) Willox discovered that, again like the other articles above, digital
storytelling went further than anything before as it allows numerous complex and interrelated
themes to be shared, narratively and personally, in a short and engaging segment. (Willox et. al,
2012)
The study is essential is developing and growing digital storytelling processes in
classrooms and beyond as it demonstrates an increased need for storytelling to occur from
sources knowledgeable in the matter as a means of transferring knowledge to future generations.
As well, as Willox states, digital storytelling can influence indigenous healthiness and resilience
by offering a means of owning and being able to tell ones own story. (Willox, 2012) This goes in
line with the findings of the Truth and Reconciliation Commission as a means of healing and
preserving culture for future generations. With the TRC being recently, a similar story of healing
through storytelling has emerged from Australia.
Wood et al. (2015) conducted a study to see the effects of narrative therapy as a healing
tool with Australian Aboriginal peoples living in Kalumburu, Western Australia. Like many of
Canadas Aboriginal peoples, the people of Kalumburu suffered the effects of colonialism and

DIGITAL STORYTELLING

18

isolation causing many struggles. The goal of the project was to create an online archive, to be
shared between community members and form part of a celebration of peoples survival and a
testament to how people survive hard times. (Wood et. al, 2015) Some of the hardships
included the aforementioned isolation along with lack of education, children being sent away for
detention and schooling, alcohol and drug abuse, violence and suicide. The digital storytelling
was therefore thought of as a means to allow elders to heal and provide youth with the guidance
necessary to navigate their lives safely while also passing on traditional teachings and
knowledge. Students were also encouraged to share their own stories as a means of healing and
engagement in schooling and culture. The goal of allowing those who are marginalized to have
their voices heard and shared from authentic sources, rather than third party recordings. Many of
the lessons learned here are examples of how such approaches can be successful in Canadian
classrooms and Aboriginal students.
Digital Storytelling with ELL Learners
It is clear that digital storytelling can benefit all learners in a number of ways in terms of
learning and engagement; English language learners (ELL) are among the many different
learners that benefit from using these multimedia compilations. Based on current research, there
are common benefits to ELL learners that are covered consistently and those are: language
acquisition, an increased sense of confidence in communication, and cultural
awareness/understanding.
Much of the power of using digital stories for ELL students lay in the process itself, which
is nonlinear and reflective in nature. In creating digital stories, students are asked to revise, edit,
record and practice their pronunciation when rerecording their work. As a result, there are diverse
opportunities to scaffold foundation literacies such as: the writing process, story comprehension,
reading and writing fluency, and vocabulary. More importantly, these literacies are learned in a
collaborative manner, which requires even the more reluctant ELL students to actively participate
in the process. For English Language Learners, producing a digital story engages them in
creating, using, and perfecting all of their emerging language skills in remarkable synergy
(Rance-Roney, 2008). This synergy that takes place among ELL students supports the notion that

DIGITAL STORYTELLING

19

literacy is in fact a social practice, which most of the explored research emphasizes. The digital
story itself is a piece that is created and then shared, allowing opportunity for peer feedback and
reflection, along with further dialogue and language practice between students, further building on
language skills.
In addition to the benefits around language skills, digital storytelling also creates an
increased sense of confidence for ELL students and their communication; digital stories also have
a positive effect on English Language learners attitudes towards learning a new language. The
collaborative nature and sharing element of these stories allows students to express themselves
through multimodalities in ways that speak to them. Current research suggests that the
confidence factor that comes with digital storytelling comes mainly from the motivation,
engagement and interest that comes with ability for students to express themselves and their
story in a way that goes far beyond written expression. The motivation to tell their stories in turn
motivates these students to learn English and the active participation that is required in creating
and sharing a digital story ensures that through practice, students reading, writing, speaking and
listening skills tend to improve. When considering the Ten Principles of Digital Storytelling:
Interactive, Authentic, Meaningful, Technological, Organized, Productive, Collaborative,
Appealing, Motivating, and Personalized, one is able to see the invaluable ways that digital
storytelling can enhance student learning, particularly for ELL students. In todays digital world,
integrating technology into teaching and learning foreign languages is remarkable useful and
necessary in preparing ELL students to function in a rapidly changing world (Yoon, 2012).
The personalized nature of a digital story can also help shape identity and promote cultural
understanding and awareness. Through sharing, students are able to learn about and connect to
other cultures and produce their own story to share with a wide audience. The potential that
digital stories have in connecting students to global communities where they can be active
participants in the sharing process is one that has emerged in current research and is something
that allows student learning and creativity it to reach far beyond the classroom.

DIGITAL STORYTELLING

20

Digital Portfolios as Digital Storytelling

Digital Storytelling offers great avenues for Aboriginal and ELL learners, however, these
are not the only students who can benefit from storytelling. Another way educators can include
digital storytelling within their mainstream classroom is by incorporating digital portfolios into their
teaching practice. While creating a digital portfolio students are documenting their learning
journey and sharing their personal learning story. Digital portfolios are typically utilized in higher
education but also have value in a K-12 setting as they provide excellent record keeping
elements and give students a voice in their own education (Donnelly, 2010). ORourke (2006)
believes the purpose of digital portfolios is seven-fold. First digital portfolios celebrate the student
as a learner and provide structure to track student progress as they work towards a goal. Digital
portfolios as also thought to help students develop an ability to be reflective learners as well as
helping promote conversations about learning between students, parents and teachers and can
assist in grade transitions. Finally, proponents of digital portfolios believe they show what, how
and why students are learning and enhance assessment and reporting.
In creating a digital portfolio, teachers are helping students use technology and creativity
to string together their personal learning story (Irvine & Barlow, 1998). Middle and High school
students are typically already engaging in creative media, as they participate in social media
sites. These students can further develop budding technical skills while they are telling their
education story for the purposes of their portfolios (Donnelly, 2010). While creating their digital
portfolio students take control of their own learning telling their story in their unique digital way.
This can include a wide variety of technical tools and skills including video creating and editing,
photography illustrations, animations, text editing, and voice recognition technologies (Donnelly,
2010).
Educators who use digital portfolios believe that there is merit to incorporating them into
their classrooms. Digital portfolios are thought to enhance learning by helping to raise standards
and develop more effective ways for teachers to provide feedback to students in order to help
them understand and apply assessment criteria to their own work (Wall et. al., 2006). Not only do
digital portfolios aid in the self assessment process, but are often thought to help support

DIGITAL STORYTELLING

21

discussions around learning between teacher, student and parent and helps students develop self
reflective skills. Additionally, looking back on and sharing digital portfolios can help students build
confidence and a sense of achievement (Wall et. al., 2006) as it displays growth and development
of students academics (Irvine & Barlow, 1998). Furthermore, as students are documenting their
learning throughout the year they may not even fully realize their story they are in the process of
creating, as they look back over their finished product they not only come face to face with their
artifacts of learning, but they see the steps they have completed as part of their learning journey.
Concluding Thoughts
Storytelling is a time honoured, universal tradition that is still alive and well today; in
communities, classrooms and on line. The emergence of new, more democratic media forms,
stories can now be captured digitally with tremendous ease. While digital storytelling can be
personal and informal, used by individuals, special populations and community groups alike it is
clear that for digital storytelling and other student driven media creation tasks in an educational
setting to be successful and enhance student learning, it is critical that a pedagogically sound
digital environment is present (Niemi, H., & Multisilta, J., 2015).

DIGITAL STORYTELLING

22

Appendix A
A wealth of resources are available online for educators who require some assistance and
direction on how to start using digital storytelling.
Three excellent introductory videos include:
What is Digital Storytelling?
https://www.youtube.com/watch?v=dKZiXR5qUlQ
The Seven Elements of Digital Storytelling.
https://www.youtube.com/watch?v=a1f-_FXgJZM
Digital Storytelling in the Elementary Classroom https://www.youtube.com/watch?
v=rUZXBc6yRhU.
Educators who are interested in integrating digital storytelling into their curriculum are
encouraged to explore the following websites for inspiration and ideas:
makerspaceforeducation.com (Digital Storytelling Section)
Athabasca University Workshop: Digital Storytelling
http://elab.athabascau.ca/workshop/digital-storytelling
Welcome to the "What is Digital Storytelling and How to Get Started" Workshop. This short
workshop is designed to introduce you to what digital storytelling is! what makes a good digital
story! and how to produce your own digital stories. The workshop links you to some of the best
websites that are dedicated to digital storytelling as well as to websites or the technologies you
may want to use.
Digitizing the Writing Workshop:
https://sites.google.com/site/digitizeww/digital-storytelling-lesson

DIGITAL STORYTELLING

23

The following complete lesson takes you through all the steps of the digital storytelling process.
This lesson is designed for grades 4-10 but easily adaptable to all grades from 4 through postsecondary.
Digital Storyteller
http://www.digitalstoryteller.org
Check out the awesome FREE classroom resource that will help your students create a project in
an online format. Storytellers from beginner to advanced can use this interactive site!
18 Free Digital Storytelling Tools For Teachers And Students
https://elearningindustry.com/18-free-digital-storytelling-tools-for-teachers-and-students
The Creative Educator: Digital Storytelling
http://creativeeducator.tech4learning.com/digital-storytelling
Digital Storytelling: Kathy Schrocks Guide to Everything
http://www.schrockguide.net/digital-storytelling.html
Portraits of our elders - the story of those living in the Moosonee/Moose Factory area
http://www.portraitsofourelders.com/
StoryCenter. (n.d.). Retrieved July 18, 2016, from http://www.storycenter.org
StoryCenters orientation towards collaborative process and story creation demonstrate how
digital storytelling serves not only as an opportunity for reflective practice, but also act as a
vehicle for education, advocacy, and for unifying and mobilizing communities. This site links to
three separate digital storytelling initiatives Silence Speaks, All Together Now, and Real Family
-- as well an extensive library of digital stories on themes ranging from health and the
environment, to work and human rights. The digital narratives found on the site are produced by
individuals from all walks of life and age groups, demonstrating both how accessible digital
storytelling is, but also collectively showcasing how lives and communities can be transformed
through the act of sharing experience through digital storytelling and other forms of digital media
production.

DIGITAL STORYTELLING

References:

Aboriginal Peoples in Canada: First Nations People, Mtis and Inuit. (n.d.). Retrieved July 19,
2016, from https://www12.statcan.gc.ca/nhs-enm/2011/as-sa/99-011-x/99-011-x2011001eng.cfm
Anhalt, Megan, and Laurie Laybourn. "Raising Your Voice: Digital Storytelling to Create
Change." (2014): 41-56. Web. 30 Oct. 2014.
Alexander, B., & Ebooks Corporation. (2011). The new digital storytelling: Creating narratives
with new media. Santa Barbara, Calif: Praeger.
Baltruschat, D. (2004). Television and canada's aboriginal communities: Seeking opportunities
through traditional storytelling and digital technologies. Canadian Journal of
Communication, 29(1), 47.
Canadian Council on Learning, 2008. Improving literacy levels among Aboriginal Canadians.
9 pages. http://www.cclcca.ca/pdfs/LessonsInLearning/Sep-04-08-Improving-literacylevels.pdf
Cunsolo Willox, A., Harper, S. L., & Edge, V. L. (2013). Storytelling in a digital age: Digital
storytelling as an emerging narrative method for preserving and promoting indigenous
oral wisdom. Qualitative Research, 13(2), 127-147.
Digital Storytelling. (n.d.). Retrieved July 23, 2016, from
http://creativeeducator.tech4learning.com/digital-storytelling
Digital Storytelling. (n.d.). Retrieved July 23, 2016, from
http://www.schrockguide.net/digital-storytelling.html
Digital Storytelling Lesson - Digitizing the Writing Workshop. (n.d.). Retrieved July 16,
2016, from https://sites.google.com/site/digitizeww/digital-storytelling-lesson
Donkin, Karrissa. "Social media helps drive Idle No More Movement", Toronto Star,
Jan. 11, 2013.
Donnelly, B. F. (2010). Digital portfolios and learning: The students' voices (Order No.

24

DIGITAL STORYTELLING

25

3404957).
Available from ProQuest Dissertations & Theses Global. (522263812). Retrieved from
http://ezproxy.library.ubc.ca/login?url=http://search.proquest.com/docview/522263812?
accountid=14656
Frazel, M., & Ebrary Academic Complete (Canada) Subscription Collection. (2010;2014;).
Digital storytelling guide for educators (1st ed.). Eugene, Or: International Society for
Technology in Education.
Hopkins, C., 2006. Making Things Our Own: The Indigenous Aesthetic in Digital Storytelling.
Leonardo, 39(4), 341- 344
Irvine, S. E., & Barlow, J. (1998). The digital portfolio in education: An innovative learning and
assessment tool. Journal of Information Technology for Teacher Education,7(3),
321-330.
J. (2009). What is Digital Storytelling? Retrieved July 23, 2016, from
https://www.youtube.com/watch?v=dKZiXR5qUlQ
K. (2009). The Seven Elements of Digital Storytelling. Retrieved July 23, 2016, from
https://www.youtube.com/watch?v=a1f-_FXgJZM
Koehler, M. J., & Mishra, P. (2005). What Happens When Teachers Design Educational
Technology? The Development Of Technological Pedagogical Content Knowledge. Journal
of Educational Computing Research, 32(2), 131-152. doi:10.2190/0ew7-01wb-bkhl-qdyv
Lambert, J. (2012). Digital Storytelling: Capturing Lives, Creating Community (4th ed.). New
York: Routledge.
Niemi, H., & Multisilta, J. (2015). Digital storytelling promoting twenty-first century skills and
student engagement. Technology, Pedagogy and Education, , 1-18.
doi:10.1080/1475939X.2015.1074610
Ohler, Jason. (2008). Digital storytelling in the classroom: New media pathways to literacy,
learning, and creativity. Journal of Media Literacy Education, 3(2), 134-136.

DIGITAL STORYTELLING

26

O'Rourke, M. (2004). Australian screen education: Digital learning portfolios: A critical look
Australian Teachers of Media.
P. (2011). Digital Storytelling in the Elementary Classroom. Retrieved July 23, 2016,
from https://www.youtube.com/watch?v=rUZXBc6yRhU
Pappas, C. (2013). 18 Free Digital Storytelling Tools For Teachers And Students.
Retrieved July 23, 2016, from https://elearningindustry.com/18-free-digital-storytelling-toolsfor-teachers-and-students
Plourde, J. (n.d.). Retrieved July 20, 2016, from http://www.portraitsofourelders.com/
Prensky, M. (2001). Digital Natives, Digital Immigrants Part 1. On the Horizon, 9(5), 1-6.
doi:10.1108/10748120110424816
Prensky, M. (2001). Digital Natives, Digital Immigrants Part 2: Do They Really Think
Differently? On the Horizon, 9(6), 1-6. doi:10.1108/10748120110424843
Rance-Roney, Judith. (2008). Digital Storytelling for Language and Culture Learning.
Essential Teacher, 5(1), 29-31.
Robin, B. R. (2008). Digital Storytelling: A Powerful Technology Tool for the 21st Century
Classroom. Theory Into Practice, 47(3), 220-228. doi:10.1080/00405840802153916
Roffey, T., Sverko, C., & Therein, J. (n.d.). Makerspace for Education. Retrieved July 23, 2016,
from http://www.makerspaceforeducation.com/
Royer, R., & Richards, P. (2008). Digital storytelling. Learning & Leading with Technology,
36(3), 29. . Retrieved from
http://www.learningandleading-digital.com/learning_leading/200811?pg=31#pg30
Sadik, A. (2008). Digital storytelling: A meaningful technology-integrated approach
for engaged student learning. Education Tech Research Dev Educational Technology
Research and Development, 56(4), 487-506. doi:10.1007/s11423-008-9091-8
Skinner, Emily N. (2008). Developing Identities with English Language Learners through
StoryCenter. (n.d.). Retrieved July 18, 2016, from http://www.storycenter.org Digital

DIGITAL STORYTELLING

Storytelling. The Reading Matrix, 8(2), 12-38.

Tackvic, C. (2012). Digital storytelling: Using technology to spark creativity. The Educational
Forum, 76(4), 426. doi:10.1080/00131725.2012.707562

Tobin, M. T. (2012). Digital storytelling: Reinventing literature circles. Voices from the Middle,
20(2), 40.
Wall, K., Higgins, S., Miller, J., & Packard, N. (2006). Developing digital portfolios:
Investigating how digital portfolios can facilitate pupil talk about learning. Technology,
Pedagogy and Education, 15(3), 261-273.
Welcome to Digital Storyteller. (n.d.). Retrieved July 18, 2016, from
http://www.digitalstoryteller.org/
Weston, M., & Biin, D. (2013). The Ancestor Project: Aboriginal Computer Education through
Storytelling. International Association For Development Of The Information Society,
What is Digital Storytelling and How to Get Started. (n.d.). Retrieved July 23, 2016, from
http://elab.athabascau.ca/workshop/digital-storytelling
Wood, C., Fredericks, M., Neate, B., & Unghango, D. (2015). The stories we need to tell:
Using online outsider-witness processes and digital storytelling in a remote australian
aboriginal community. International Journal of Narrative Therapy & Community Work,
(4), 40-54.
Yoon, Tecnam. (2013). Are you digitized? Ways to provide motivation for ELLs using digital
storytelling. International Journal of Research Studies in Educational Technology, 2(1),
25-34.

27