Art Education Technology: Digital Storytelling

Author(s): Sheng Kuan Chung

Source: Art Education , Mar., 2007, Vol. 60, No. 2 (Mar., 2007), pp. 17-22
Published by: National Art Education Association

Stable URL: https://www.jstor.org/stable/27696201

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Art Education Technology:

it?p?af stoiyt?lli BY SHENG KUAN CHUNG

Advances in computer technology dramatically transform modern society into

an arena where digital devices are indispensable. Collectively, technologies
create a new genre of contemporary art forms (Roland, 1994) that challenge
art educators in search of meaningful practices. Teachers must know how to use
computer technology to prepare students to function in this rapidly-changing world
(Heise & Grandgenett, 1996).
Digital Storytelling
Increasing concerns
aesthetic sensitivity, aboutfaculty
and a critical promoting
in future multiliteracy,1 A story is a narrative account of an incident, person,
citizens lead many art educators to a reconceptualization
event, or position (Lambert, 2002). Stories vary in nature?
of art education as Visual Culture Art Education (Duncum,
they may be biographical, familial, ethnic, commercial, or
2004; Freedman, 2003). The application of digital story
instructional. A story is a restructured everyday experience
telling to art education offers tremendous potential for
through which we come to know, remember, and under
teaching contemporary visual culture to the digital genera
stand (Livo & Rietz, 1986). Through stories we explain,
tion. Digital storytelling is "the modern expression of
interpret, and assess situations, experiences, and ideolo
the ancient art of storytelling.... Digital stories derive
gies, leading in turn to the creation of new meanings. As
their power through weaving images, music, narrative
an intrinsic form of human communication, storytelling is
and voice together, thereby giving deep dimension and prevalent in all aspects of human interaction. It connects
vivid color to characters, situations, and insights" (Digital generations of the past with the present and future to form,
Storytelling Association, 2002, para. 1-2). Digital story pass on, or reformulate wisdom, values, and beliefs.
telling not only addresses art education's current concerns
with visual culture, computer technology, and interdisci In this article, digital storytelling refers to the practice
plinary pedagogy, but also allows learners to cultivate and of incorporating digital text, imagery, video, and audio
apply their multiple literacy, artistic, and critical skills to into the presentation of a computer-mediated, multimedia
give voice to greater issues of importance to a worldwide story. Digital stories are presented in a variety of formats,
audience. This article describes the implementation of for example, an all-text web page or a nonlinear interac
an innovative course in art education technology at the tive website (Paul & Fiebich, 2002). Dana Atchley is often
University of Houston that teaches pre-and in-service art credited with initiating digital storytelling over a decade ago
(Lambert, 2002). He and his followers founded the Center
teachers how to apply digital storytelling to art education.
The article proposes that digital storytelling is a powerful for Digital Storytelling in Berkeley, California, where work
and relevant way to teach visual culture and art in the age of shops are held to produce digital stories. Meadows (2003b)
computer technology. considered digital stories to be "short, personal multimedia

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 When making a digital story, creators use storyboards to help them efficiently
organize the evolution of a story and keep it focused within certain parameters. In
other words, the storyboard is the place to plan what media to use and how they
might best work together to depict an important, engaging, and informative story.

tales told from the heart." He maintained that

Exploring Topics Story board
"digital storytelling isn't just a tool; it's a revolu
Before exploring concepts of digital story Storyboarding is the process of visual
tion" (Meadows, 2003a, p. 192). With Internet
telling, the participants viewed several com izing how a story will look. A storyboard
technologies, digital storytelling makes it pleted digital stories created by grade-school is a sketch or blueprint for a movie produc
possible for individuals to produce their own children and adults to analyze the characteris tion, theatrical performance, multimedia
meanings. It allows students to develop and tics of a digital story.2 The participants actively digital story, or animation (Lambert, 2002).
present their own ideas to the real world.
discussed and explored the nature and format Storyboarding involves planning the sequence
of their digital storytelling assignment as a of scenes and the interaction of the incor
Integrating Digital Storytelling documentary or an essay conveying an impor porated media components. When making
with Art Education
tant art or art education development, theory, a digital story, creators use storyboards to
In the summer of 2005, pre- and in-service or philosophy. help them efficiently organize the evolution
art teachers at the University of Houston
Using a 6" x 9" paper, the students brain of a story and keep it focused within certain
learned about art education technology
stormed and noted possible topics related to art parameters. In other words, the storyboard is
through a graduate-level course, which
or art education. They formulated biograph the place to plan what media to use and how
focused on the application of digital story
ical, philosophical, and informational stories they might best work together to depict an
telling to art education. This course explored as well as stories focused on curriculum devel important, engaging, and informative story.
the potential of digital storytelling for visual Ways of drafting storyboards vary. A story
opment, public art, community-based art
culture art education through the expan
projects, and modern and postmodern educa script should be ready before sketching a
sion of technology skills and knowledge for
tion. Some of the specific examples included storyboard. This helps creators easily visualize
teaching art in a digital age. The learning goals stories about a local folk artist/art educator, content in terms of character, setting, and plot.
were (a) to experience digital storytelling as
personal philosophy of art education, program Creators need to consider several components
a powerful tool for art inquiry, production, when sketching storyboards for a digital story;
and instruction and to create an instructional funding, state standards, class preparation for
beginning art teachers, examining aesthetic these include imagery (e.g., photos, artwork,
multimedia story related to art or art educa
questions, and investigating theoretical devel graphics, and maps), video, text, voiceover,
tion; (b) to participate in class discussions and
opments such as color theory and children's audio (music and sounds), slide transitions,
inquiries into digital storytelling as it related and image effects.3
artistic development.
to art education; and (c) to evaluate digital
The students received letter-sized photo
stories created by both class participants and Script
copies of a storyboard template for their story
others. Student-created digital stories were Students conducted research both online boarding. To simplify changes, students pencil
used as short presentations to teach kinder
and in the library on the chosen topics and sketched their storyboards and wrote page
garten through adult-aged students about
completed a working script within two class numbers on them for tracking scenes. Figure
an important event, theory, approach, style,
sessions. Guiding questions for script prepara 1 shows a student example to help explain
person, or practice related to art/art education.
tion included: Is the chosen topic educational, the process of storyboarding. Students broke
Additionally, these digital stories incorpo
informative, or significant? What is the story's down the working script into key phrases and
rated copyright-free materials such as digital
purpose (e.g., advocacy or instruction)? Who jotted them down in the script area following
images, video clips, artwork, sound, music,
is the audience? Does the story have a central the sequence of the story. Because each phrase
text, and voiceover.
point of view (argument)? What characters, would likely contain two or more images,
events (what, how, where, and when), settings, which would require two or more squares on
and plots are involved with the story? Does the template (See Figure 1), the students wrote
the story raise other issues? The instructor and down and visualized one to two phrases at a
student peers used these questions to critique time and then sketched images, made scrib
student scripts. Each working script was to bles, and/or took short notes in the square to
be as complete as possible, if not final, for the indicate what to include. Slide transitions and
storyboard phase. computer-mediated image effects were deter
mined according to the type of software, such
as iMovie or Windows? Movie Maker 2.1,
individual students used.

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 ,\V> MuJU?V* A U&*k$ $jtu

. , Transition . Transition Transition Transition

pkitD V\Afi?> \fideo Vila
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Effects t/yi? f I tf>\

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Its

Figure 1. A student storyboard by Heidi Mullins.

Production Photo Story 3, as its name suggests, is specifi Some created stories on their laptops, while
After completion of the storyboards, cally designed to create stories from still most used school computers and saved files
students proceeded to the production stage, digital images. For stories without a video to a USB flash drive.4 The class used Adobe
using multimedia-enabled, Internet-ready component, I recommended using Microsoft Elements? or Adobe Photoshop? for image
computers, equipped with speakers and micro Photo Story 3. To cater to individual needs and editing and Goldwave?, another free applica
phones. Numerous software applications are technology skills, the students explored other tion, for sound editing. Because the class used
available to produce multimedia digital stories. movie-making software applications such as different software applications, peer assistance
Software should be chosen according to the Adobe? Premiere?, PowerPoint?, iMovie was critical in making the course a success.
types of computers in a computer lab (see (for Apple Macintosh only), and Windows?
Figure 2). Because my school uses Windows Movie Maker 2.1. Based on my teaching
XP computers, I introduced Microsoft? Photo experience, except for Adobe Premiere and
Story 3, a free software application for Windows PowerPoint, the other software programs
XP that is ideal for beginning computer users are user friendly, straightforward, and easy
and can be downloaded online. Microsoft to learn. In the end, one or more students
used each set of software mentioned above.

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 Software Platform 2. A successful story should achieve a sense
of visual-auditory harmony. In other
For Windows only (free download). words, a scene leading the audience to
Microsoft? Photo Story 3 contemplation and reflection should
Ideal for grade-school children and for
creating stories from still images. avoid using fast-bite sounds, music, or
transitions.
Windows? Movie Maker For Windows only (free download). 3. Students should choose appropriate
2.1 Ideal for grade-school children. background music and avoid mixing lyric
music with voiceover, which may distract
For Mac only (free download)
Apple ?Movie1 from or conflict with the meaning
Ideal for grade-school children.
conveyed. They should pay attention
Adobe? Premiere? For Windows and Mac to how music conveys feelings and
emotions. Instrumental music is usually
PowerPoint? For Windows and Mac
more appropriate for story segments
containing narration.
Figure 2. Popular software applications for creating digital stories.
4. Video can add a dramatic emphasis to the
story such as breakthrough, transforma
tion, or action. Still images can convey
Image Preparation In addition to gathering images online,
feelings and emotions and are ideal for
Images, photos, and video are central to the students checked out scanners, digital
cameras, and camcorders from the school's emphasizing a viewpoint.
a digital story and can be obtained online,
technology center to obtain images or video 5. Personal voice is essential to a digital
in print, or students can produce them on
clips they could not find online or elsewhere. story. All students should narrate
a computer. Because one of the main goals their own stories. Personal narration
in creating digital stories is sharing them Those wishing to videotape an interview were
with a larger population via the Internet, required to secure release permission from adds greater authentic and emotional
the students either obtained copyright-free their interviewees. With images, video clips, substance to the story. Interesting
material or secured written permission for and music files at hand, the students were narration uses appropriate pauses and
using copyright-protected material. They read ready to compose their stories with a chosen is spoken in a conversational style (not
and discussed articles on copyright laws and software application. They manipulated, reading or reciting the script). When
fair use standards for the proper use of copy inserted, and modified the various media narrating, students should relate to
right-protected images.5 Like most university components, adjusted slide transitions, and images or video clips and coordinate
libraries, my school library subscribes to a added image effects. with background music. They should also
fee-based online image database available to practice before formal recording. Sound
students and faculty. Images obtained from this Criteria for Evaluation editing software (e.g., Goldwave?) is
type of database are less of an issue in terms When producing digital stories, students available for modifying voiceover, sound,
of copyright infringement. Popular search and music.
should know the instructor's expectations in
engines like Google and Yahoo offer image each learning phase and be clear about the 6. With respect to pacing, a fast-paced
search tools. Students can combine a keyword criteria by which the instructor will evaluate scene normally conveys strong emotions
and file type to search for relevant images, such as excitement and tension, while
the stories. As the students composed their
sound files, and video clips. For example, to a slow-paced scene indicates reflection
stories, they paid attention to the following
locate a tree image, one might combine the and relaxation. Music tempo and image
guidelines of the elements of an effective
keywords tree or trees with a file type, such transitions (slow or fast) may affect the
digital story. Exceptions to these guidelines
as tree.gif, tree.jpg, tree.bmp, or tree.tiff; for a audience's emotions.
should be made if they add a constructive
tree video clip, one might use tree.mov or tree,
avi; and for a tree-related sound file, one could attribute to the story. 7. Lambert (2002) maintained that "the
search for tree.wav.6 1. An effective and engaging digital story rhythm of a story determines much of
incorporates the appropriate amount what sustains an audience's interest"
of images, audio, video, text, and image (p. 59). A more interesting and engaged
effects. The prime consideration should story will typically use a more dynamic
be the meaning of the story, not fancy pacing (i.e., pause for reflection and
or overwhelming use of image effects or action for revelation), meaning that a
slide transitions. All incorporated media successful story contains an appropriate
should be integrated appropriately to combination of fast- and slow-paced
achieve cohesion. scenes. Mechanical pacing may bore the
audience and should be avoided.

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Critique
The final class session was devoted to group How Can Art
critique. Each student presented a completed Education
story to the class, elaborating on both its Benefit Our
personal and professional meaning. Class Children?
participants evaluated each story based on (a)
creativity?Is the story aesthetically or artisti
cally interesting?, (b) cohesion?Are multi
media formats integrated appropriately?, (c)
success?Is the story persuasive or engaging?,
and (d) meaningfulness?Is the story infor
mative or educationally significant?. My
students' stories included an advocacy of art
education, a questioning of standardized tests
and their impact on art education, a biograph
ical account of a Houston art philanthropist,
an aesthetic inquiry into the purposes of art,
an introduction to campus public art at the
University of Houston, a historical account of
making ancient manuscripts, and a piece on
art careers.7

The following summarizes three student

stories: Barbara created a piece with Power Make Sure Your
Point for adolescents titled "What is art for?" the importance that School Has An Art
She intended to present it to her high school art education plays iducation Program
in our children's
classes to discuss this important question of
aesthetics. Her work began with video inter
views of college students on campus as she
approached them with the key question: "What
is art for?" She depicted numerous examples
of art as she articulated how art communicates
"symbolic, religious, spiritual, and ceremonial
messages." She also talked about modern art
and its practice. Barbara concluded with a list
of emerging aesthetic questions to provoke
further discussion. While creating her story, Figure 3. Selected frames from digital story by Jerita Burreson.
Barbara encountered numerous frustrations
and problems with the computer (e.g., failed
to find the file she saved). She was pleased with
her final accomplishment.
Amy8 recognized that most college students
might be unaware of the public art pieces Is the story aesthetically or artistically
on their University of Houston campus. She
created a story using iMovie on her notebook interesting? ... Are multimedia formats
to show the campus public art collection. Her
story began with a brief history of the public
integrated appropriately? ... Is the story
art collection at the university and discussed
persuasive or engaging? ... Is the story
how funding and art purchase committees
are formed. Throughout the story, Amy acted informative or educationally significant?
as a tour guide walking the audience to three
pieces while providing details about their
creators, the materials used, associated costs,
and historical information. She interviewed
students who happened to be near the pieces,
asking them for their thoughts about these

MARCH 2007 / ART EDUCATION 21

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 works on campus. At the end, Amy challenged In the creation of a digital story, students Lambert, J. (2002). Digital storytelling: Capturing
the audience to think about what the campus perform multiple tasks as researchers, play lives, creating community. Berkeley, CA: Center
would look like without public art in order to wrights, designers, media producers, and for Digital Storytelling.

illustrate the importance of its existence. educators. They explore topics of significance, Livo, N. J., & Rietz, S. A. (1986). Storytelling: Process
and practice. Littleton, CO: Libraries Unlimited.
Produced with Windows? Movie Maker 2.1, compose a narrative, create computer images,
Meadows, D. (2003a). Digital storytelling:
Jeritas story (See Figure 3) consisted of a series record a personal voiceover, apply contextual Research-based practice in new media. Visual
of interviews with her school principal, an art knowledge, and analyze ways in which infor Communication, 2(2), 189-193.
teacher, an art director, and a retired university mation and mood effectively convey a story. Meadows, D. (2003b). Capture Wales BBC digital
art educator, in which she asked them how art Digital storytelling provides art students with storytelling. Retrieved July 22, 2005, from http://
education benefits children. The class thought a stimulating aesthetic means of developing www.bbc.co.uk/wales/capturewales/conference/
that her interview with her school principal hands-on critical-thinking and problem danielmeadows.shtml
was a productive way to promote art educa solving skills, of addressing relevant social Paul, N., & Fiebich, C. (2002). The elements of
tion in her school. As two of her interviewees issues and personal concerns, and of culti digital storytelling. Retrieved November 28,
responded, "Kids need to think critically and vating aesthetic sensitivities. 2005, from http://www.elements.fiebich.
imaginatively and art gives them that opportu In the age of computer technology, many biz/index.php
nity," and "In art you have multiple solutions to American K-12 schools have ample funds Roland, C. (1994). Preparing children for the
problems [sic]." Jerita summarized the benefits for maintaining a computer lab but not for twenty-first century. Retrieved May 14, 2005,
from http://grove.ufl.edu/~rolandc/archives/
of art education and cited research findings to obtaining art supplies. The implementation
arts%7Etechnology.html
urge better funding and support for art educa of digital storytelling offers art educators
tion in public schools. She also offered prac another avenue to implement an innovative
tical strategies to help both parents and the and relevant art program for the technology E?ftl tT?S
public to become involved in supporting art savvy digital generation. Dunn (1996) noted ^uncum (2004, p. 253) defines multiliteracy as
education. that "Art teachers who are technologically "the making of meaning through the interaction of
different communicative modes" such as music, the
The class of 7 rated favorably each of the literate are uniquely positioned to play a major
role in their schools' attempts to restructure in spoken voice, sound effects, language, and pictures.
student digital stories during peer evaluation.
Except for two students who were initially the face of an ever-changing global market 2 The Scott County Schools in Georgetown,
place" (p. 8). Moreover, with the availability of Kentucky, posted many examples created by their
uncomfortable narrating their stories, most students and teachers on their website at
had positive things to say about this learning Internet technology, digital storytelling allows
http://www.scott.kl2.ky.us/technology/
experience. They all considered the amount of individuals to voice larger concerns from
digitalstorytelling/ds.html
time (48 hours) dedicated to this project to be their own perspectives to an ever-widening
3 Depending on the type of software used, different
appropriate; they also appreciated having an audience. Digital storytelling is a meaningful
software applications (PowerPoint?, iMovie , and
opportunity to learn about digital storytelling and powerful way to promote visual culture
art education. Windows? Movie Maker 2.1) have slightly different
and to apply it to their own art teaching. Most slide transitions and image effects.
agreed to make their works available on a 4A USB flash drive acts like a portable hard drive. It
university website to share with other art ShengKuan Chung is Assistant Professor
is about the size of an eraser capable of storing and
teachers. Although some students were first and Graduate Program Director of Art
transporting large amounts of data.
time users of Adobe? Premiere?, Microsoft? Education in the Department of Curriculum
5Linda Starrs online article "The Educators Guide
Photo Story 3, and Windows? Movie Maker and Instruction, University of Houston,
to Copyright and Fair Use" offers helpful informa
2.1, their multimedia stories showed a profes Texas. E-mail: [email protected]
tion on this topic at http://www.educationworld.
sional execution (See student works at http:// com/a_curr/curr280.shtml
www.coe.uh.edu/arted/). REFERENCES 6Bernard Robin, Associate Professor of
Digital Storytelling Association (2002). Digital
Conclusion storytelling. Retrieved November 28, 2005, from
Instructional Technology at the University of
Houston, has compiled a list of resources for
The application of digital storytelling to http://www.dsaweb.org/01associate/ds.html searching images, video clips, sounds, and music
art education is an interdisciplinary, inquiry Duncum, P. (2004). Visual culture isn't just visual: online at http://www.coe.uh.edu/digital
based, hands-on project that integrates the Multiliteracy, multimodality, and meaning. storytelling/tools.htm
Studies in Art Education, 43(3), 252-265. 7Words are too limited to describe these digital
arts, education, local communities, technology,
Dunn, P. (1996). More power: Integrated interactive stories. Some student works will be available on
and storytelling. Through digital storytelling,
technology and art education. Art Education, the University of Houston art education website at
students develop and apply multiliteracy
49(6), 6-11. http://www.coe.uh.edu/arted/
skills, aesthetic sensitivities, and critical facul
Freedman, K. (2003). Teaching visual culture: 8"Amy" is a pseudonym.
ties to address greater issues of importance to
Curriculum, aesthetics, and the social life of art.
a larger audience.
New York: Teachers College Press.
Heise, D., & Grandgenett, N. F. (1996). Perspectives
on the use of Internet in art classrooms. Art
Education, 49(6), 12-18.

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