Wayang Authoring: A Web-based Authoring Tool for Visual Storytelling for Children

This research focuses on the development of the Wayang Authoring tool as it aims to assist children in creating and performing stories, developing an appreciation for cultural artifacts, and enhancing intercultural empathy while building a young storyteller community in a virtual world. This study seeks a framework of interaction design of an authoring media which is appropriate to support children s narrative development. The concept of the tool is based on the narrative element of the ancient Indonesian art form wayang, a traditional two dimensional shadow puppet theater. To understand the user s requirements and the cultural dimension, children and professional story performers who use wayang have been involved in the design process. In order to evaluate the tool, several workshops have been conducted with children from different cultural backgrounds as well as with their teachers. Wayang Authoring is composed of three elements: the imagination-building element, the creative acting element and the social interaction element. Children take existing materials as an inspiration tool, imagine what they themselves want to tell, create a story based on their own ideas, play with their creations, share their stories and creations with others, and reflect on their experiences at the end. This virtual creative production tool is expected to provide a space for young people to change their role from a simple user to a (co-)creator in the virtual and narrative worlds. The core contributions are in the field of web technology for storytelling. The uses of web-based authoring media enable children to put themselves into the process of developing stories. When they are connecting stories, they are connected and immersed with other children as well. They have to act and play by themselves or with others within the stories in order to experience the narratives. They train to have the skills to interact, to share their ideas and to collaborate constructively. This makes it possible for them to participate in today s media-driven culture. This research found that a better understanding of how stories are crafted and brought to life in a performance tradition offers a better design of interaction of an authoring media. The handling of cultural artifacts supports the ability to understand different cultural codes and to pursue the learning process surrounding the original culture behind these artifacts

Pedagogical Analysis of Educational Digital Storytelling Environments of the Last Five Years

AbstractDigital storytelling, the modern and challenging successor of storytelling, emerged over the last few years as a powerful teaching and learning tool, engaging both teachers and their students. For the evaluation of Educational Digital Storytelling Environments (EDSE), pedagogical aspects of designing or using EDSE are much less frequently studied than technical ones. Thus, taking into account modern, social and constructivist views of learning, a new pedagogical evaluation model was created (Psomos & Kordaki, 2011), using sixteen pedagogical criteria-dimensions. In this paper, the aforementioned pedagogical evaluation model is used to pedagogically analyze EDSE of the last five years

Hand gesture-based interactive puppetry system to assist storytelling for children

© 2016 The Author(s)Digital techniques have been used to assist narrative and storytelling, especially in many pedagogical practices. With the rapid development of HCI techniques, saturated with digital media in their daily lives, young children, demands more interactive learning methods and meaningful immersive learning experiences. In this paper, we propose a novel hand gesture-based puppetry storytelling system which provides a more intuitive and natural human computer interaction method for young children to develop narrative ability in virtual story world. Depth motion sensing and hand gestures control technology is utilized in the implementation of user-friendly interaction. Young players could intuitively use hand gestures to manipulate virtual puppet to perform story and interact with different items in virtual environment to assist narration. Based on the result of the evaluation, this novel digital storytelling system shows positive pedagogical functions on children’s narrating ability as well as the competencies of cognitive and motor coordination. The usability of the system is preliminary examined in our test, and the results which showed that young children can benefit from playing with Puppet Narrator

A Storytelling-Driven Framework for Cultural Heritage Dissemination

This paper aims at introducing a new dissemination framework for cultural heritage (CH) making possible affordable solutions for small and medium museums to cooperate/collaborate in the creation of exhibitions. The framework also makes possible new data-based communication strategies able to combine content belonging to different cultural archives and accessed through an ontology-based integration and discovery mechanism, and fosters new data sharing and distribution policies that preserve intellectual property rights. The proposed dissemination model redefines the concept of digital storytelling with the aim of increasing the participation of domain experts in the dissemination of CH. The framework is designed around a graph-based architecture for creating attractive and engaging multimedia narratives that will be transformed in real experiences personalized according to the user\u2019s profile, interests and context of use. Recommender and digital right management services are provided to authors and users for helping them in the creation, personalization and navigation of stories and for guaranteeing the adoption of suitable sharing and distribution policies

Guidelines for digital storytelling for Arab children

Children are getting more exposed to various technologies in teaching-learning. Various types of teaching-learning have been designed, including interactive digital storytelling. In Malaysia, local children have been clear about story-based learning materials. However, the situation is a little bit different with Arab children. Because the number of Arab children migrating into Malaysia is increasing, for following their parents who are studying at higher levels, they have to also make themselves familiar with the local scenario. In accordance, this study is initiates, to identify their acceptance towards story-based learning materials, or specifically interactive digital storytelling. Hence, this study reacts proactively, by approaching Arab children asking for their feedback on whether they have any desire for interactive digital storytelling. Through a series of interviews, this study found that they have a strong desire and tendency. Then, the following objectives have been stated: (1) to determine the components for the interactive digital storytelling for Arab children, (2) to design and develop a prototype of the interactive digital storytelling, and (3) to observe on how the Arab children experience the interactive digital storytelling. User-centered design (UCD) approach has been gone through in ensuring that the objectives are achieved. The process of determining the components for the interactive digital storytelling was carried out by directly involving Arab children and their teachers from three preschools in Changlun and Sintok. It was similar with the efforts in determining the contents, and interface design until the prototype development. Having the prototype ready, user testing was carried out to explore the way Arab children experience the prototype. All the processes involved various techniques through observation, interviews, and noting. Specifically, the user testing involved qualitative and empirical data. Qualitative data were gathered through observation, meanwhile the empirical data were gathered using Computer System Usability Questionnaire (CSUQ) tool. In the end, having data processed, the findings show that Arab children are highly satisfied with the prototype. Scientifically, the developed prototype is a mirror of the obtained guidelines, obtained through the UCD seminars. Hence, the positive acceptance on the prototype reflects positive acceptance on the guidelines, as the main contribution of this study. Besides the guidelines as the main contribution of this study, the developed prototype is also a wonderful contribution to the Arab children and their teacher. They will be using it as part of their teaching and learning material

Exploitation of multiplayer interaction and development of virtual puppetry storytelling using gesture control and stereoscopic devices

With the rapid development of human-computer interaction technologies, the new media generation demands novel learning experiences with natural interaction and immersive experience. Considering that digital storytelling is a powerful pedagogical tool for young children, in this paper, we design an immersive storytelling environment that allows multiple players to use naturally interactive hand gestures to manipulate virtual puppetry for assisting narration. A set of multimodal interaction techniques is presented for a hybrid user interface that integrates existing 3D visualization and interaction devices including head-mounted displays and depth motion sensor. In this system, the young players could intuitively use hand gestures to manipulate virtual puppets to perform a story and interact with props in a virtual stereoscopic environment. We have conducted a user experiment with four young children for pedagogical evaluation, as well as system acceptability and interactivity evaluation by postgraduate students. The results show that our framework has great potential to stimulate learning abilities of young children through collaboration tasks. The stereoscopic head-mounted display outperformed the traditional monoscopic display in a comparison between the two

Exploitation of Novel Multiplayer Gesture-based Interaction and Virtual Puppetry for Digital Storytelling to Develop Children’s Narrative Skills

In recent years, digital storytelling has demonstrated powerful pedagogical functions by improving creativity, collaboration and intimacy among young children. Saturated with digital media technologies in their daily lives, the young generation demands natural interactive learning environments which offer multimodalities of feedback and meaningful immersive learning experiences. Virtual puppetry assisted storytelling system for young children, which utilises depth motion sensing technology and gesture control as the Human-Computer Interaction (HCI) method, has been proved to provide natural interactive learning experience for single player. In this paper, we designed and developed a novel system that allows multiple players to narrate, and most importantly, to interact with other characters and interactive virtual items in the virtual environment. We have conducted one user experiment with four young children for pedagogical evaluation and another user experiment with five postgraduate students for system evaluation. Our user study shows this novel digital storytelling system has great potential to stimulate learning abilities of young children through collaboration tasks

Performative Authoring: Nurturing Children’s Creativity and Creative Self-Efficacy through Digitally-Augmented Enactment-Based Storytelling

Psychological research, especially by Paul Torrance, has shown that the child’s engagement in creative activities tends to drop precipitously at around the 3rd- to 4th-grade period (8 to 11 years old). This phenomenon, called the ‘Fourth-Grade Slump’, occurs possibly because of an increase in social awareness and critical self-evaluation of competence in the child during this period. Increasing awareness of the complexity of the world’s problems, new paradigms of design focusing on the user, and advances in technology has led to rapid developments in the design and development of tools to support children’s creativity. Research in creativity support tools has generally focused on augmenting creative performance within specific tasks, using strategies such as facilitating access to information, or exposing the user to a space of possible combinations. Much less studied however, is how tools may help to develop positive attitudes towards creativity in individuals. This is important, especially in systems designed for children where the focus on the development of the person, during critical periods of growth such as the period of the Fourth-Grade Slump, may be said to be of equivalent or greater importance than the support of process or the generation of product. In the domain of storytelling or narrative construction, work in child development, educational pedagogy, social psychology, and performance studies have looked at how to tap into the power of children’s imagination during pretend play to nurture their storytelling abilities and their sense of self-efficacy or confidence. These interventions typically take the form of drama workshops or classroom roleplaying exercises. While results appear to provide good evidence that drama interventions and theater-based methods have some positive effects on children’s development of narratives, studies have shown mixed results in terms of the effects on children’s self-efficacy. I refer here to self-efficacy in the sense of a child’s perception of her creative abilities, in other words, her belief that she can produce creative outcomes. This creativity-oriented sense of self-efficacy has been called ‘creative self-efficacy’. This dissertation investigates how pretend play can be harnessed into the design of an interface to support children’s creativity in storytelling and their sense of creative self-efficacy. This overarching question was explored through four phases of research: Exploration, Design, Evaluation, and Integration. The Exploration phase consisted of two studies: a) a set of interviews with elementary school teachers, and b) an experimental study of how the interface or medium may affect children’s creative storytelling process; The Design phase consisted of two experimental studies, and design and development: a) the first study investigated how the physicality of props may support children’s enactment-based storytelling, and b) the second study explored the influence of the presentation of digital contextual/environmental cues on children’s enactment-based storytelling, c) design and development consisted of an exercise using the NEVO methodology to embody design knowledge gained from the Design phase into a concrete usable system, called DiME; The Evaluation phase consisted of two studies: a) the first was a pilot study that tested the usability of DiME and protocol of use with children, and b) the second was an experimental study across two school districts with different profiles investigating the effects of digitally-augmented enactment-based storytelling using DiME, on children’s creativity, story writing and creative self-efficacy; The Integration phase of the research consisted of a workshop with elementary school teachers, which initiated an exploration into how such a story authoring approach may be used in an elementary school curriculum and setting. The body of work that this dissertation presents elucidates (i) a physical enactment-based method for the authoring of stories by children, and (ii) how a digitally-augmented space may move beyond simple drama methods to positively influence the child’s creativity and imagination during storytelling, as well as her self-belief and motivation to engage in creation. The digitally-augmented enactment-based storytelling environment, that I term performative authoring, allows the child to collaboratively create a story through pretend play with a partner, while her enactments are reflected in real-time in the form of animated cartoon characters and objects on a large screen display through the use of motion tracking technologies. I have found that performative authoring has positive effects not only on the child’s creative self-efficacy, especially for the less extraverted children, but also on the richness of the child’s retelling or written narrative of her story. The significance of the results of the studies is with respect to the various domains and subareas represented (child-computer interaction, interactive storytelling, education and educational psychology, creativity and cognition). There is great potential to extend the concept of exploiting digitally-augmented enactment to support and scaffold higher-level cognition, beyond physical enactment. Extensions of this work include making use of more epistemic forms of enactment, instead of full-blown enactment, to support children’s creative story brainstorming, or to make use of digitally-augmented enactment to support other forms of higher thought apart from creativity and imagination. In the domain of storytelling or narrative construction, work in child development, educational pedagogy, social psychology, and performance studies have looked at how to tap into the power of children’s imagination during pretend play to nurture their storytelling abilities and their sense of self-efficacy or confidence. These interventions typically take the form of drama workshops or classroom roleplaying exercises. While results appear to provide good evidence that drama interventions and theater-based methods have some positive effects on children’s development of narratives, studies have shown mixed results in terms of the effects on children’s self-efficacy. I refer here to self-efficacy in the sense of a child’s perception of her creative abilities, in other words, her belief that she can produce creative outcomes. This creativity-oriented sense of self-efficacy has been called ‘creative self-efficacy’ (Beghetto, 2006, 2007). This dissertation investigates how pretend play can be harnessed into the design of an interface to support children’s creativity in storytelling and their sense of creative self-efficacy. This overarching question was explored through four phases of research: I. Exploration, II. Design, III. Evaluation, and IV. Integration. Phase 1 Exploration consisted of two studies: 1A) a set of interviews with elementary school teachers, and 1B) an experimental study of how the interface or medium may affect children’s creative storytelling process; Phase 2 Design consisted of two experimental studies, and design and development: 2A) the first study investigates how the physicality of props may support children’s enactment-based storytelling, and 2B) the second study explores the influence of the presentation of digital contextual/environmental cues on children’s enactment-based storytelling, 2C) design and development consisted of an exercise using the NEVO methodology to embody design knowledge gained from Phase 2 into a concrete usable system, called DiME; Phase 3 Evaluation consisted of two studies: 3A) the first was a pilot study that tested the usability of DiME and protocol of use with children, and 3B) the second was an experimental study across two school districts with different profiles investigating the effects of digitally-augmented enactment-based storytelling using DiME, on children’s creativity, story writing and creative self-efficacy; and Phase 4 Integration consisted of a workshop with elementary school teachers, which initiated an exploration into how such a story authoring approach may be used in an elementary school curriculum and setting. The body of work that this dissertation presents elucidates (i) a physical enactment-based method for the authoring of stories by children, and (ii) how a digitally-augmented space may move beyond simple drama methods to positively influence the child’s creativity and imagination during storytelling, as well as her self-belief and motivation to engage in creation. The digitally-augmented enactment-based storytelling environment, termed performative authoring in this document, allows the child to collaboratively create a story through pretend play with a partner, while her enactments are reflected in real-time in the form of animated cartoon characters and objects on a large screen display through the use of motion tracking technologies. I have found that performative authoring has positive effects not only on the child’s creative self- efficacy, especially for the less extraverted children, but also on the richness of the child’s retelling or written narrative of her story. This dissertation concludes by discussing the significance of the results of our studies with respect to the various domains and subareas represented (child-computer interaction, interactive storytelling, education and educational psychology, creativity and cognition) and extends the concept of exploiting digitally-augmented enactment to support and scaffold higher-level cognition, beyond physical enactment. Extensions of this work include making use of more epistemic forms of enactment, instead of full-blown enactment, to support children’s creative story brainstorming, or to make use of digitally-augmented enactment to support other forms of higher thought apart from creativity and imagination

Stories from the margins

This article demonstrates how collaborative (audio)visual methods can contribute to processes of transformation and become a form of activism that ultimately empowers the lesbian, gay, bisexual and transgender (LGBT) rights movement in Indonesia. By focusing on the 73 minute documentary Anak-Anak Srikandi, which was produced in collaboration with a group of women-who-love-women in Indonesia’s main island Java, I discuss the collaborative and interventionist quality of the filmmaking process itself, emphasizing in particular the transformative potential of auto-ethnography as part of a broader critical queer/feminist methodology and arguing for a more engaged visual anthropology.Cet article démontre comment des méthodes collaboratives audiovisuelles peuvent contribuer à favoriser des transformations incarnant des formes d’activisme qui renforcent à terme le pouvoir du mouvement LGTB lesbiennes, gay, bisexuel et transgenres en Indonésie.En nous centrant sur le film documentaire Anak-Anak Srikandi (73mn) qui a été produit en collaboration avec « des femmes qui aiment les femmes » sur l’île de Java en Indonésie, j’aborde l’aspect collaboratif et interventioniste de la démarche filmique qui a surtout mis à jour le potentiel de transformation qu’engendre l’auto-ethnographie comme faisant partie d’une méthodologie plus large, en lien avec le mouvement propre au Queer/féminisme, qui préconise une anthropologie visuelle plus engagée