<u>Community Uses of Co-creative Media</u> Digital storytelling and Co-creative Media: The role of community arts and media in propagating and coordinating population-wide creative practice

Woodrow, Nina; Spurgeon, Christina; Rennie, Ellie; Klaebe, Helen G.; Heck, Elizabeth; Haseman, Brad; Hartley, John; Edmond, Maura; Burgess, Jean

doi:10.5334/csci.87

Cited by 3 publications

(1 citation statement)

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“…The digital storytelling movement (Lambert, 2006) is already very diverse, serving multiple purposes (but never no purpose). It includes Californian counter-culture (Dana Atchley), British public broadcasting (Meadows, Heledd and Evans, 2006;Meadows and Kidd, 2009), community arts and media (Woodrow et al, 2015), screen arts at the Australian Centre for the Moving Image (Simondson, 2009), the Turkish women's movement (Şimşek, 2012, 2015), 'at risk' youth (Podkalicka and Staley, 2009), education (Drotner, 2008), therapeutic healthcare (Hardy and Sumner, 2014), organizations (Dush, 2013), and self-representation for various demographics, from children (Skinner and Hagood, 2008) to seniors (T. Jenkins, 2015), whether for political emancipation (Vivienne, 2015), personal self-realization (Spurgeon and Burgess, 2015) or for 'digital literacy' and self-expression (Ohler, 2013).…”

Section: New Stories New Polities?mentioning

confidence: 99%

How We Use Stories and Why That Matters

Hartley¹

2020

Self Cite

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For legal purposes the Acknowledgements on p. 271 constitute an extension • Chapter 11 'What is television? A guide for knowing subjects'. Just as it passes out of its period of supremacy as the most popular medium in the world -following the earlier dominance of the press, cinema and broadcasting -television's cultural function (rather than its behavioural, economic, political or ideological effects) can be considered. This chapter argues that what TV is for is the creation of the modern subject.• Chapter 12 'World class: Girls as a problem of knowledge'. Considering girls, social media and class struggle as one problem, 12 English is third; Spanish second: Ethnologue: https ://ww w.eth nolog ue.co m/sta tisti cs/si ze.

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Section: New Stories New Polities?mentioning

confidence: 99%

How We Use Stories and Why That Matters

Hartley¹

2020

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Participatory Media and ‘Co-Creative’ Storytelling

Spurgeon¹

2015

Media International Australia

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Distinguishing critical participatory media from other participatory media forms (for example user-generated content and social media) may be increasingly difficult to do, but it nonetheless remains an important task if media studies is to remain relevant to the continuing development of inclusive social political and media cultures. This was one of a number of the premises for a national Australian Research Council-funded study that set out to improve the visibility of critical participatory media, and to understand its use for facilitating media participation on a population-wide basis. The term ‘co-creative’ media was adopted to make this distinction and to describe an informal system of critical participatory media practice that is situated between major public, Indigenous and community arts, culture and media sectors. Although the co-creative media system is found to be a site of innovation and engine for social change, its value is still not fully understood. For this reason, this system continues to provide media and cultural studies scholars with valuable sites for researching the socio-cultural transformations afforded by new media and communication technologies, as well as their limitations.

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Interculturally-Critical Digital Storytelling

R’boul

2021

Advances in Early Childhood and K-12 Education

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Narrating personal experiences, stories, or real-life events can engage students in meaningful learning that is interesting and fun. Digital storytelling can support not only knowledge transfer but also realizing socially-just education by promoting inclusive attitudes. This chapter argues for the use of digitally supported storytelling for social justice education. Interculturally-critical digital storytelling is presented as a critical orientation that is sensitive to intercultural issues of power and sociopolitical realities. It makes a case for implementing digital storytelling as a way of introducing experiences and narratives that explore elements pertinent to social justice. Interculturally-critical digital storytelling involves (a) incorporating multicultural literature in order to amplify students' voices and include different cultures, (b) considering storytelling as a creative practice that entails an innovative method of teaching and learning, and (c) emphasizing the need to discuss and question hegemonic normative expectations that perpetuate injustices and inequalities.

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Community Uses of Co-creative Media Digital storytelling and Co-creative Media: The role of community arts and media in propagating and coordinating population-wide creative practice

Cited by 3 publications

References 22 publications

How We Use Stories and Why That Matters

How We Use Stories and Why That Matters

Participatory Media and ‘Co-Creative’ Storytelling

Interculturally-Critical Digital Storytelling

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