teaching technique 01 digital story...storyboard 6 points the storyboard illustrates the video...
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INSTRUCTOR’S GUIDE
ACTIVITY TYPE
• Presentation
• Project Learning
• Reflecting
TEACHING PROBLEM ADDRESSED
• Cheating
• Low Motivation/Engagement
• Surface Learning
LEARNING TAXONOMIC LEVEL
• Application: Creative Thinking
• Caring
• Human Dimension
• Integration & Synthesis
Teaching Technique 01
Digital Story
Clarify your teaching purpose and learning goals for the Digital Story
Create a prompt that establishes the content or topic area of the story
Set assignment parameters (media, length, etc.)
Develop a plan for learning assessment or grading
Communicate assignment instructions to students
Allow students time to create their Digital Story
Reflect upon the activity and evaluate its effectiveness
Digital Story
Students use computer-based tools, such as video, audio, graphics,
and Web publishing, to tell personal or academic stories about life
experiences relevant to course themes.
3Digital Story
Step-By-Step Instructions
In this section we provide you with guidance on each of the seven
steps involved as you consider this technique.
STEP 1: CLARIFY YOUR TEACHING PURPOSE AND LEARNING GOALS
Digital Story is a project and reflection-based technique that can address multiple teaching problems, so think through exactly what you hope to get from this exercise in your class. Because students typically tell their own stories, they find the assignment engaging and are motivated to invest considerable effort. The project also challenges students to move beyond surface learning, and its individualized, personal focus reduces both the inclination to cheat and the feasibility of cheating. This technique also provides teachers with rich data through multimedia from which to assess student learning and development.
Digital Story may be used to support a variety of learning goals, depending upon your prompt. For example, use Digital Story when you want to provide students with a creative outlet for self-authorship and for curating their lived experiences. Or you can use this technique to help students learn about the lives and experiences of others. As students situate themselves within the context of the course subject area, they can use the digital stories to make connections between course content and other realms of life. Because Digital Story often taps into a student’s emotions, you can also use this assignment to help improve students’ caring about a given topic.
STEP 2: IDENTIFY THE LEARNING TASK’S UNDERLYING PROBLEM AND PROMPT
Create an assignment prompt that establishes the content or topic area of the story.
For example:
• “Create a Digital Story that documents your connection with an environmental pollution issue.”
• “Create a Digital Story that documents your journey as a student in higher education.”
STEP 3: SET ASSIGNMENT PARAMETERS
As you set parameters, consider aspects such as:
• Media (video or audio), length, timeframe for completion
• Where students can go for technical support
• Whether students will post their digital stories online or present them in class
4Digital Story
Many students already know how to use technical tools such as iMovie, and your institution’s media center may also be able to support students working on the project. Alternatively, you can either provide that support yourself or allow students to do a “spoken word” real time presentation of their stories without technology.
STEP 4: DEVELOP A PLAN FOR LEARNING ASSESSMENT OR GRADING
Digital Story is a time-intensive project for students, and they will most likely want it to count toward their course grade. Therefore, you will likely want to assess it, and hence will need to determine who will be involved in the assessment and why. For example, in addition to your own assessment, you may also want to incorporate self-assessment or peer assessment. Sanders (2009, p. 18) identifies three main approaches for assessing digital stories that may be useful for rubric creation: I. The Storytelling Approach, which focuses on elements such as Story Finding,
Story Telling, Story Expanding, Story Processing, and Story Reconstructing.
II. The “Levels of Reflection” Approach, which draws upon Moon’s Model of Reflective Learning (Moon, 1999) and focuses on aspects such as Noticing, Making Sense, Meaning Making, Working with Meaning, and Transformative Learning.
III. The Use of Multimedia in Reflective Learning Approach, which focuses on student facility with technological tools for story telling, such as Continuity Editing, Audio Editing, Lighting, Graphics, Animation.
We have included additional assessment approaches as well as sample rubrics in the Support Materials section of this document.
STEP 5: COMMUNICATE ASSIGNMENT PARAMETERS TO STUDENTS
Digital Story is a complex project for which it is best to develop an assignment handout. In your handout, include not only standard elements such as instructions and assessment criteria, but you also may want to include guidance about how students should proceed, such as the following suggestions adapted from Lambert (2010):
• Own your insights. Storytellers should find and clarify what their stories are about. We start with the question: “What’s the story you want to tell?” and then as a follow-up, “What do you think your story means?”
• Own your emotions. Consider the emotions in the story and determine how to convey these to an audience.
Step-By-Step Instructions (CON’T)
5Digital Story
• Find the moment in the story. Identify a single moment that can illustrate your insight. What was the moment things changed? When were you aware of the change?
• See the story. How do visuals and sound bring things to life for the audience? How can you use them as part of the story?
• Hear your story. The recorded voice of the storyteller is what makes a project a “digital story,” but you can add music or other sounds. Both those other sounds are an excellent way to convey tone. Consider whether the story would be enhanced by additional layers of sound.
• Assemble the story. What structure will you use? Chronological? Most important to least important? Vice versa? Consider what the necessary parts of the story are and how to order those pieces to engage the audience.
• Share the story. Ask: “Who is your audience? What was your purpose in creating the story? Has the purpose shifted during the process of creating the piece? In what presentation format will the story be viewed? Will the story continue to have life after its presentation?”
We provide further guidance on assessment in the Support Materials section of this document.
STEP 6: IMPLEMENT THE TECHNIQUE
• Announce the activity, distributing your handout and allowing time for questions.
• Provide students with time to work.
• Have students present their digital stories either in class or posted online.
• Collect and assess the digital stories.
STEP 7: REFLECT UPON THE ACTIVITY AND EVALUATE ITS EFFECTIVENESS
If you are interested in determining course level learning outcomes, use your rubric and add up the total for each rubric trait and enter it in a table or chart. For example, using our adaptation of the AAC&U VALUE rubric provided in the Support Materials section below, we created the following “Sample Display Chart of Assessment Results.” It shows the total number of students who were assessed at the different standards (excellent, very good, good, acceptable) for the various criteria (organization, language, delivery, central message, reflection & self-assessment). You can also add up the individual scores on each trait and determine a class average. These results can then be displayed in a variety of formats, such as the “Sample Graph of Assessment Results” on the following page.
Step-By-Step Instructions (CON’T)
6Digital Story
RUBRIC RESULTS FOR DIGITAL STORY PROJECTS(Number of Students at Each Level for Each Trait)
EXCELLENT VERY GOOD GOOD ACCEPTABLE
ORGANIZATION 6 4 7 3
LANGUAGE 4 5 8 3
DELIVERY 5 5 8 2
CENTRAL MESSAGE
7 3 7 3
REFLECTION & SELF-ASSESSMENT
9 4 5 2
1. SAMPLE DISPLAY CHART OF ASSESSMENT RESULTS
ORGANIZATION
LANGUAGE
DELIVERY
CENTRAL MESSAGE
REFLECTION & SELF-ASSESSMENT
40
30
20
10
0
EXCELLENT VERY GOOD GOOD ACCEPTABLE
2. SAMPLE GRAPH OF ASSESSMENT RESULTS
Consider what worked. Consider what could have been better and why and how. Consider whether the activity is something you would like to use in the future. Record your responses so that you can revisit them, when you consider implementing the activity in the future.
Step-By-Step Instructions (CON’T)
7Digital Story
The materials in this section are intended to help you with the process
of implementing this technique. Because Digital Story yields rich data
about student learning, for this technique, we provide additional
guidance on assessment.
ASSESSMENT GUIDANCE
The Learning Artifact for the technique—the means by which the student’s learning becomes visible and hence assessable—is the Digital Story students create. These stories can be a rich source of assessment data. They can provide evidence of a student’s knowledge of course content, ability to reflect upon their learning, multimedia literacy, and engagement. Moreover, through sharing their own stories with an audience, this technique provides strong evidence of student learning in the Human Dimension of the Significant Learning Taxonomy. Rubrics can be a useful assessment tool, and graphs and charts can be effective for displaying results.
SAMPLE ASSESSMENT RUBRICS
The University of Wisconsin Stout (nd) provides a great example of a rubric for assessing student video projects. We also include one that is a hybrid of two of the VALUE rubrics (rubrics developed by the Association of American Colleges and Universities as part of their Valid Assessment of Learning in Undergraduate Education initiative.
Support Materials
VID
EO
PR
OJE
CT
RU
BR
ICA
dapt
ed F
rom
The
Uni
vers
ity o
f Wis
cons
in S
tout
(nd
)
AC
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Use
of
Res
our
ces
and
C
itat
ions
Dur
ing
Res
earc
h an
d N
ote
Tak
ing
12 p
oin
ts
No
te c
ard
s in
dic
ate
rese
arch
q
uest
ions
, so
urce
s o
f in
form
atio
n
and
gra
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and
iden
tify
rel
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to
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Sour
ces
of i
nfo
rmat
ion
and
g
rap
hics
are
pro
per
ly c
ited
us
ing
cit
atio
ns.
8 p
oin
ts
No
te c
ard
s sh
ow
res
earc
h q
uest
ions
, rel
evan
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form
atio
n fr
om
mul
tip
le
sour
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of i
nfo
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and
ev
alua
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lter
nati
ve p
oin
ts
of v
iew
(if
ap
pro
pri
ate
for
the
top
ic).
All
sour
ces
of i
nfo
rmat
ion
are
clea
rly
iden
tifie
d a
nd c
red
ited
us
ing
cit
atio
ns.
4 p
oin
ts
No
te c
ard
s sh
ow
a fe
w
rese
arch
que
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ns fr
om
a fe
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sour
ces
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nfo
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l to
iden
tify
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gum
ents
(if a
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rop
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Mo
st s
our
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of i
nfo
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ion
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iden
tifie
d u
sing
pro
per
ci
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ard
s d
o no
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clud
e re
sear
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oin
ts o
f vie
w
No
cita
tio
ns a
re in
clud
ed.
____
/12
Sto
ryb
oar
d6
po
ints
The
stor
yboa
rd il
lust
rate
s th
e vi
deo
pre
sent
atio
n st
ruct
ure
with
thu
mb
nail
sket
ches
of
each
sce
ne. N
otes
of p
rop
osed
tr
ansi
tion,
sp
ecia
l eff
ects
, so
und
and
title
trac
ks in
clud
e:
text
, bac
kgro
und
colo
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lace
men
t & s
ize
of g
rap
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fo
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- col
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typ
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r tex
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d he
adin
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Not
es a
bou
t p
rop
osed
dia
log
ue/n
arra
tion
text
are
incl
uded
.
All
sket
ches
are
num
ber
ed,
and
ther
e is
a lo
gic
al s
eque
nce
to t
he p
rese
ntat
ion.
4 p
oin
ts
The
stor
yboa
rd in
clud
es
thum
bna
il sk
etch
es o
f eac
h vi
deo
sce
ne a
nd in
clud
es
text
for e
ach
seg
men
t of t
he
pre
sent
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n, d
escr
iptio
ns
of b
ackg
roun
d au
dio
for
each
sce
ne, a
nd n
otes
ab
out
pro
pos
ed s
hots
and
dia
log
ue.
All
sket
ches
are
org
aniz
ed
and
num
ber
ed in
a lo
gic
al
seq
uenc
e.
2 p
oin
ts
The
thum
bna
il sk
etch
es o
n th
e st
oryb
oard
are
not
in a
lo
gic
al s
eque
nce
and
do
not
pro
vid
e co
mp
lete
des
crip
tions
of
the
vid
eo s
cene
s, a
udio
b
ackg
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r not
es a
bou
t th
e d
ialo
gue
.
0 p
oin
ts
Ther
e is
no
evid
ence
of a
st
oryb
oard
.
____
/6
Nam
e ––
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–
AC
TIV
ITY
EX
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PL
AR
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FIC
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TP
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P
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IEN
TU
NS
AT
ISF
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PO
INT
S
Co
nten
t &
Org
aniz
atio
n18
po
ints
The
cont
ent i
nclu
des
a c
lear
st
atem
ent o
f pur
pos
e or
the
me
and
is c
reat
ive,
com
pel
ling
and
cl
early
writ
ten.
A r
ich
varie
ty
of s
upp
ortin
g in
form
atio
n in
the
vid
eo c
ontr
ibut
es to
un
der
stan
din
g th
e p
roje
ct’s
m
ain
idea
. The
pro
ject
incl
udes
m
otiv
atin
g q
uest
ions
and
ad
vanc
ed o
rgan
izer
s th
at
pro
vid
e th
e au
die
nce
with
a
sens
e of
the
pre
sent
atio
n’s
mai
n id
ea. E
vent
s an
d
mes
sag
es a
re p
rese
nted
in a
lo
gic
al o
rder
.
12 p
oin
ts
Info
rmat
ion
is p
rese
nted
as
a c
onne
cted
the
me
with
ac
cura
te, c
urre
nt s
upp
ortin
g
info
rmat
ion
that
con
trib
utes
to
und
erst
and
ing
the
pro
ject
’s
mai
n id
ea.
6 p
oin
ts
The
cont
ent d
oes
not p
rese
nt a
cl
early
sta
ted
them
e, is
vag
ue,
and
som
e of
the
sup
por
ting
in
form
atio
n d
oes
not s
eem
to
fit t
he m
ain
idea
or a
pp
ears
as
a d
isco
nnec
ted
serie
s of
sc
enes
with
no
unify
ing
mai
n id
ea.
0 p
oin
ts
The
cont
ent l
acks
a c
entr
al
them
e, c
lear
poi
nt o
f vie
w
and
log
ical
seq
uenc
e of
in
form
atio
n. M
uch
of t
he
sup
por
ting
info
rmat
ion
in t
he
vid
eo is
irre
leva
nt to
the
ove
rall
mes
sag
e. T
he v
iew
er is
uns
ure
wha
t the
mes
sag
e is
bec
ause
th
ere
is li
ttle
per
suas
ive
info
rmat
ion
and
only
one
or
two
fact
s ab
out t
he to
pic
. In
form
atio
n is
inco
mp
lete
, out
of
dat
e an
d/o
r inc
orre
ct.
____
/18
Intr
od
ucti
on
6 p
oin
ts
The
intr
od
uctio
n is
com
pel
ling
an
d p
rovi
des
mot
ivat
ing
co
nten
t tha
t hoo
ks t
he v
iew
er
from
the
beg
inni
ng o
f the
vi
deo
and
kee
ps
the
aud
ienc
e’s
atte
ntio
n.
4 p
oin
ts
The
intr
od
uctio
n is
cle
ar a
nd
cohe
rent
and
evo
kes
inte
rest
in
the
top
ic.
2 p
oin
ts
The
intr
od
uctio
n d
oes
not
crea
te a
str
ong
sens
e of
wha
t is
to fo
llow
.
0 p
oin
ts
The
intr
od
uctio
n d
oes
not
orie
nt t
he a
udie
nce
to w
hat
will
follo
w.
____
/6
VID
EO
PR
OD
UC
TIO
N Q
UA
LIT
Y
Vid
eo C
ont
inui
ty/E
dit
ing
12 p
oin
ts
The
tap
e is
ed
ited
with
onl
y hi
gh
qua
lity
shot
s re
mai
ning
. V
ideo
mov
es s
moo
thly
from
sh
ot to
sho
t. A
var
iety
of
tran
sitio
ns a
re u
sed
to a
ssis
t in
com
mun
icat
ing
the
mai
n id
ea
and
smoo
th t
he fl
ow fr
om o
ne
scen
e to
the
nex
t. Sh
ots
and
sc
enes
flow
sea
mle
ssly
. Dig
ital
effe
cts
are
used
ap
pro
pria
tely
fo
r em
pha
sis.
8 p
oin
ts
The
tap
e is
ed
ited
thro
ugho
ut
with
onl
y q
ualit
y sh
ots
rem
aini
ng. A
var
iety
of
tran
sitio
ns a
re u
sed
. Goo
d
pac
ing
and
timin
g.
4 p
oin
ts
The
tap
e is
ed
ited
in fe
w s
pot
s.
Seve
ral p
oor s
hots
rem
ain.
Tr
ansi
tions
from
sho
t to
shot
ar
e ch
opp
y, a
nd t
he t
ypes
of
wip
es a
nd fa
des
sel
ecte
d ar
e no
t alw
ays
0 p
oin
ts
The
tap
e is
une
dite
d an
d
man
y p
oor s
hots
rem
ain.
No
tran
sitio
ns b
etw
een
clip
s ar
e us
ed. R
aw c
lips
run
bac
k to
b
ack
in t
he fi
nal v
ideo
.__
__ /1
2
AC
TIV
ITY
EX
EM
PL
AR
YP
RO
FIC
IEN
TP
AR
TIA
LLY
P
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FIC
IEN
TU
NS
AT
ISF
AC
TO
RY
PO
INT
S
Aud
io E
dit
ing
12 p
oin
ts
The
aud
io is
cle
ar a
nd
effe
ctiv
ely
assi
sts
in
com
mun
icat
ing
the
mai
n id
ea.
Bac
kgro
und
aud
io is
kep
t in
bal
ance
.
8 p
oin
ts
The
aud
io is
cle
ar a
nd a
ssis
ts in
co
mm
unic
atin
g th
e m
ain
idea
.
4 p
oin
ts
The
aud
io is
inco
nsis
tent
in
clar
ity
(too
loud
/too
sof
t/g
arb
led
) at t
imes
and
/or t
he
bac
kgro
und
aud
io o
verp
ower
s th
e p
rimar
y au
dio
.
0 p
oin
ts
The
aud
io is
cut
-off
and
in
cons
iste
nt o
r ove
rpow
erin
g.
____
/12
Lig
htin
g3
po
ints
Ad
diti
onal
lig
htin
g is
use
d to
el
imin
ate
shad
ows
and
gla
res.
A
ll sc
enes
hav
e su
ffici
ent
light
ing
for v
iew
er to
eas
ily s
ee
actio
n.
2 p
oin
ts
Ad
diti
onal
lig
htin
g is
use
d.
Few
sha
dow
s or
gla
res
are
app
aren
t.
1 p
oin
ts
Som
e sc
enes
are
too
dar
k or
to
o lig
ht to
det
erm
ine
wha
t is
hap
pen
ing
.
0 p
oin
ts
Onl
y am
bie
nt (a
vaila
ble
) lig
ht is
us
ed. M
ost s
cene
s ar
e to
o d
ark
or to
o lig
ht to
det
erm
ine
wha
t is
hap
pen
ing
.
____
/3
Cam
era
Tech
niq
ues
(Exp
osu
re/F
ocu
s)
12 p
oin
ts
All
shot
s ar
e cl
early
focu
sed
an
d w
ell f
ram
ed. T
he c
amer
a is
he
ld s
tead
y w
ith fe
w p
ans
and
zo
oms.
Clo
se-u
ps
are
used
to
focu
s at
tent
ion.
8 p
oin
ts
Mos
t sho
ts a
re c
lear
ly fo
cuse
d
and
wel
l fra
med
.
4 p
oin
ts
Som
e sh
ots
are
unfo
cuse
d or
p
oorly
fram
ed.
0 p
oin
ts
Man
y sh
ots
are
unfo
cuse
d
and
poo
rly fr
amed
. Exc
essi
ve
pan
ning
and
zoo
min
g d
istr
acts
th
e vi
ewer
.
____
/12
Gra
phi
cs6
po
ints
The
gra
phi
cs a
nd/o
r ani
mat
ion
assi
st in
pre
sent
ing
an o
vera
ll th
eme
that
ap
pea
ls to
the
au
die
nce
and
enha
nces
co
ncep
ts w
ith a
hig
h im
pac
t m
essa
ge.
Gra
phi
cs e
xpla
in a
nd
rein
forc
e ke
y p
oint
s d
urin
g th
e p
rese
ntat
ion.
4 p
oin
ts
The
gra
phi
cs o
r ani
mat
ion
visu
ally
dep
ict m
ater
ial
and
assi
st t
he a
udie
nce
in
und
erst
and
ing
the
flow
of
info
rmat
ion
or c
onte
nt.
2 p
oin
ts
Som
e of
the
gra
phi
cs a
nd/o
r an
imat
ions
see
m u
nrel
ated
to
the
top
ic/t
hem
e an
d d
o no
t en
hanc
e co
ncep
ts.
0 p
oin
ts
The
gra
phi
cs a
nd/o
r an
imat
ions
are
unr
elat
ed to
th
e co
nten
t. G
rap
hics
do
not
enha
nce
und
erst
and
ing
the
cont
ent,
or a
re d
istr
actin
g
dec
orat
ions
tha
t det
ract
from
th
e co
nten
t.
____
/6
Co
pyr
ight
6 p
oin
ts
Cop
yrig
hted
info
rmat
ion
for
pho
tos,
gra
phi
cs a
nd m
usic
is
cle
arly
iden
tified
by
sour
ce
and
natu
re o
f per
mis
sion
to
rep
rod
uce.
4 p
oin
ts
Ever
y p
hoto
, gra
phi
c or
mus
ic
is e
ither
orig
inal
or p
erm
issi
on
for i
ts u
se is
doc
umen
ted
.
2 p
oin
ts
Som
e so
urce
s of
pho
tos,
g
rap
hics
, and
mus
ic a
re
not c
lear
ly id
entifi
ed w
ith
refe
renc
es, a
nd p
erm
issi
on to
re
pro
duc
e is
mis
sing
.
0 p
oin
ts
Ther
e is
no
refe
renc
e to
co
pyr
ight
info
rmat
ion
for
pho
tos,
gra
phi
cs, a
nd m
usic
.__
__ /6
AC
TIV
ITY
EX
EM
PL
AR
YP
RO
FIC
IEN
TP
AR
TIA
LLY
P
RO
FIC
IEN
TU
NS
AT
ISF
AC
TO
RY
PO
INT
S
Mo
ving
Imag
es3
po
ints
Mot
ion
scen
es a
re p
lann
ed a
nd
pur
pos
eful
, ad
din
g im
pac
t to
the
stor
y lin
e. “
Talk
ing
head
s”
scen
es a
re u
sed
whe
n cr
ucia
l to
telli
ng t
he s
tory
.
2 p
oin
ts
The
vid
eo in
clud
es s
ome
“tal
king
hea
ds,
” an
d
bac
kgro
und
s an
d vi
deo
eff
ects
ad
d in
tere
st. M
ost m
otio
n sc
enes
mak
e th
e st
ory
clea
rer
or g
ive
it m
ore
imp
act.
1 p
oin
ts
The
vid
eo in
clud
es “
talk
ing
he
ads”
and
a fe
w m
otio
n sc
enes
are
ad
ded
but
do
not
imp
rove
und
erst
and
ing
of t
he
stor
y lin
e.
0 p
oin
ts
The
vid
eo fe
atur
es “
talk
ing
he
ads”
with
litt
le o
r no
actio
n to
ad
d in
tere
st o
r the
vid
eo
uses
act
ion
exce
ssiv
ely.
____
/3
Tim
ing
3 p
oin
ts
Vid
eo c
lips
show
no
slac
k tim
e.
“Thr
ee b
eat”
tim
ing
(thr
ee
actio
ns p
er c
lip o
r thr
ee c
lips
per
eve
nt) i
s ev
iden
t.
2 p
oin
ts
Mos
t vid
eo c
lips
are
edite
d
to re
mov
e sl
ack
time
and
to
emp
hasi
ze a
ctio
n.
1 p
oin
ts
Som
e vi
deo
clip
s ne
ed to
be
edite
d to
rem
ove
slac
k tim
e an
d in
crea
se a
ctio
n.
0 p
oin
ts
Vid
eo c
lips
beg
in a
nd e
nd w
ith
slac
k tim
e or
no
actio
n.__
__ /3
TO
TAL
PO
INT
S__
__ /9
9
A—
EX
EM
PL
AR
Y:
86–9
9 p
oint
s
B—
PR
OF
ICIE
NT
: 76
–85
poi
nts
C—
PA
RT
IALL
Y P
RO
FIC
IEN
T O
R U
NS
AT
ISF
AC
TO
RY
: N
eed
s to
be
resu
bm
itte
d–f
ewer
tha
n 75
poi
nts
DIG
ITA
L S
TO
RY
AS
SE
SS
ME
NT
RU
BR
ICA
dapt
ed F
rom
The
AA
C&
U O
ral C
omm
unic
atio
n VA
LUE
Rub
rics
This
rub
ric
com
bin
es e
lem
ents
of
the
Ora
l Co
mm
unic
atio
n an
d t
he S
kills
fo
r Li
felo
ng L
earn
ing
VA
LUE
Rub
rics
cre
ated
by
facu
lty
wo
rkin
g w
ith
AA
C&
U.
Ora
l com
mun
icat
ion
is d
efine
d as
“p
rep
ared
, pur
pos
eful
pre
sent
atio
n d
esig
ned
to in
crea
se k
now
led
ge,
to fo
ster
und
erst
and
ing,
or t
o p
rom
ote
chan
ge
in th
e lis
tene
rs’
attit
udes
, val
ues,
bel
iefs
, or b
ehav
iors
.” L
ifelo
ng le
arni
ng is
defi
ned
as a
ny “
pur
pos
eful
act
ivity
und
erta
ken
on a
n on
goi
ng b
asis
with
the
aim
of i
mp
rovi
ng k
now
led
ge,
skill
s an
d co
mp
eten
ce.”
Eva
luat
ors
will
ass
ign
a ze
ro to
any
ass
ignm
ent t
hat d
oes
not m
eet b
ench
mar
k/ac
cept
able
(cel
l one
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el p
erfo
rman
ce.
EX
CE
LL
EN
T 6
1–
80
VE
RY
GO
OD
4
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60
GO
OD
2
1–
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AC
CE
PT
AB
LE
1
–20
PO
INT
S
OR
GA
NIZ
AT
ION
Org
aniz
atio
nal p
atte
rn (s
pec
ific
intr
od
uctio
n an
d co
nclu
sion
, se
que
nced
mat
eria
l with
in t
he s
tory
, an
d tr
ansi
tions
) is
clea
rly a
nd
cons
iste
ntly
ob
serv
able
and
is s
killf
ul
and
mak
es t
he c
onte
nt o
f the
dig
ital
stor
y co
hesi
ve.
Org
aniz
atio
nal p
atte
rn (s
pec
ific
intr
od
uctio
n an
d co
nclu
sion
, se
que
nced
mat
eria
l with
in t
he
stor
y, a
nd tr
ansi
tions
) is
clea
rly
and
cons
iste
ntly
ob
serv
able
w
ithin
the
dig
ital s
tory
.
Org
aniz
atio
nal p
atte
rn (s
pec
ific
intr
od
uctio
n an
d co
nclu
sion
, se
que
nced
mat
eria
l with
in t
he s
tory
, an
d tr
ansi
tions
) is
inte
rmit
tent
ly
obse
rvab
le w
ithin
the
dig
ital s
tory
.
Org
aniz
atio
nal p
atte
rn (s
pec
ific
intr
od
uctio
n an
d co
nclu
sion
, se
que
nced
mat
eria
l with
in t
he s
tory
, an
d tr
ansi
tions
) is
not o
bse
rvab
le.
____
/ 80
LA
NG
UA
GE
Lang
uag
e ch
oice
s fo
r the
sto
ry
are
imag
inat
ive,
mem
orab
le, a
nd
com
pel
ling,
and
enh
ance
the
ef
fect
iven
ess
of t
he s
tory
. Lan
gua
ge
is
ap
pro
pria
te to
the
aud
ienc
e.
Lang
uag
e ch
oice
s fo
r the
sto
ry a
re
thou
ght
ful a
nd g
ener
ally
sup
por
t the
ef
fect
iven
ess
of t
he s
tory
. Lan
gua
ge
is
ap
pro
pria
te to
the
aud
ienc
e.
Lang
uag
e ch
oice
s fo
r the
sto
ry a
re
com
mon
pla
ce a
nd p
artia
lly s
upp
ort
the
effe
ctiv
enes
s of
the
sto
ry.
Lang
uag
e is
ap
pro
pria
te to
the
au
die
nce.
Lang
uag
e ch
oice
s fo
r the
sto
ry a
re
uncl
ear a
nd m
inim
ally
sup
por
t the
ef
fect
iven
ess
of t
he s
tory
. Lan
gua
ge
is
not a
pp
rop
riate
to t
he a
udie
nce.
___
_ / 8
0
DE
LIV
ER
Y
Del
iver
y te
chni
que
s (v
isua
ls, v
ocal
ex
pre
ssiv
enes
s) m
ake
the
pre
sent
atio
n co
mp
ellin
g, a
nd t
he s
pea
ker a
pp
ears
p
olis
hed
and
confi
den
t.
Del
iver
y te
chni
que
s (v
isua
ls, v
ocal
ex
pre
ssiv
enes
s) m
ake
the
pre
sent
atio
n in
tere
stin
g, a
nd t
he s
pea
ker a
pp
ears
co
mfo
rtab
le.
Del
iver
y te
chni
que
s (v
isua
ls, v
ocal
ex
pre
ssiv
enes
s) m
ake
the
pre
sent
atio
n un
der
stan
dab
le, a
nd t
he s
pea
ker
app
ears
tent
ativ
e.
Del
iver
y te
chni
que
s (v
isua
ls, v
oca
l ex
pre
ssiv
enes
s) d
etra
ct fr
om
the
un
der
stan
dab
ility
of t
he p
rese
ntat
ion,
an
d th
e sp
eake
r app
ears
unc
omfo
rtab
le.
____
/ 80
CE
NT
RA
L
ME
SS
AG
E
The
cent
ral m
essa
ge
is c
omp
ellin
g
(pre
cise
ly s
tate
d, a
pp
rop
riate
ly
rep
eate
d, m
emor
able
, and
str
ong
ly
sup
por
ted
).
The
cent
ral m
essa
ge
of t
he s
tory
is
cle
ar a
nd c
onsi
sten
t.
The
cent
ral m
essa
ge
of t
he s
tory
is
bas
ical
ly u
nder
stan
dab
le, b
ut is
not
p
artic
ular
ly m
emor
able
.
The
cent
ral m
essa
ge
can
be
ded
uced
, b
ut is
not
exp
licitl
y co
nvey
ed in
the
p
rese
ntat
ion.
____
/ 80
RE
FL
EC
TIO
N &
S
EL
F-A
SS
ES
SM
EN
T
In P
re- a
nd P
ost-
Proj
ect R
eflec
tions
, d
emon
stra
tes
a d
eep
sens
e of
sel
f as
a le
arne
r, b
uild
ing
on p
rior e
xper
ienc
e.
In P
re- a
nd P
ost-
Proj
ect R
eflec
tions
, d
emon
stra
tes
very
goo
d se
nse
of
self
as a
lear
ner.
In P
re- a
nd P
ost-
Proj
ect R
eflec
tions
, d
emon
stra
tes
goo
d se
nse
of s
elf a
s a
lear
ner.
In P
re- a
nd P
ost-
Proj
ect R
eflec
tions
, d
emon
stra
tes
dev
elop
ing
sens
e of
se
lf as
a le
arne
r.__
__ /
80
Ad
apte
d fr
om
Ass
oci
atio
n of
Am
eric
an C
olle
ges
and
Uni
vers
ities
. (20
09).
Ora
l Co
mm
unic
atio
n A
nd F
oun
dat
ions
And
Ski
lls F
or L
ifelo
ng L
earn
ing
Valu
e Ru
bri
cs.
Retr
ieve
d fr
om
htt
ps:
//w
ww
.aac
u.o
rg/v
alue
/rub
rics
/ora
l-co
mm
unic
atio
n an
d ht
tps:
//w
ww
.aac
u.o
rg/v
alue
/rub
rics
/life
long
-lea
rnin
g.
Nam
e ––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––––
––
To
tal P
oin
ts –
––––
–––
/ 4
00 (P
oten
tial)
13Digital Story
This section is intended to help you with the process of implementing
Digital Story in your online class.
HOW TO START
• Choose the course topic you want to focus on and decide whether students will tell their own story or interview others and tell their story.
• Stories can be personal or academic, so long as they link back to the topic.
• Establish assignment parameters such as video length and timeframe to complete the project, as well as evaluation criteria. Support materials, including sample assessment rubrics, are included in this download (see pages 7–12).
• Finally, determine the manner in which students will submit their videos.
• If students will be sharing personal stories, consider having them submit the link as an assignment with a reflection essay.
• If stories explore topics that students would likely feel comfortable sharing with peers, have them post the link to their video in a discussion forum along with explanatory comments.
• Consider also implementing a discussion framework that encourages students to view and comment on each other’s videos.
Online Adaptation
14Digital Story
Technique Template
Following are two templates to assist you as you think through how
you might implement this technique in your own class. The first is a
completed template, providing an example of how Elizabeth Barkley
adapted Digital Story in her course, Music of Multicultural America.
The second is a blank template for you to fill out to tailor this
technique for your course.
15Digital Story
Technique Template
Sample Digital Story Completed Technique Template:
Content from Elizabeth Barkley
Course Name
COURSE CHARACTERISTICS
What are the situational factors that impact this course? For example, is it on campus or online? How many students? Is it lower division or graduate? Are there student attributes such as attitudes, prior knowledge, reasons for enrolling, and so forth that should be taken into account as you consider this technique?
STEP 1: CLARIFY YOUR TEACHING PURPOSE AND LEARNING GOALS
Why are you choosing this technique? What do you hope to accomplish?
My course is an on campus, Honors Institute section of a lower division General Education course. The course meets my institution’s United States Cultures & Communities requirement and also the Humanities requirement. It enrolls about 25-30 students. A significant number are international students and we are trying to recruit more first generation students. As Honors students, they typically have good academic skills and are highly motivated.
I am looking for an activity that will increase student engagement as well as help students move beyond a surface understanding of the challenges faced by immigrants in the United States. I am also looking for a way to increase students’ self-reflection skills, both in terms of their connections to course content and their insights and understanding of how they learn.
Music of Multicultural America
16Digital Story
STEP 2: IDENTIFY THE LEARNING TASK’S UNDERLYING PROBLEM AND PROMPT
What is the question you want learners to address, or problem you want them to solve?
STEP 3: SET ASSIGNMENT PARAMETERS
What are the assignment logistics? For example, will this be assigned individually or is it group work? How long will the assignment take? Will students be submitting a product? What materials, resources, or additional information do you anticipate needing?
Create a digital story that documents the experience of becoming “American.” The story can be that of your own (if you are an immigrant), of someone else’s such as a friend’s, family member’s, co-worker’s, neighbor’s, and so forth.
This will be an individual project. I will give students 6 weeks to create a video with a maximum of 5 minutes. They will upload them to a Drop Box folder I’ll create. I am also going to incorporate a short post-project reflection essay and ask students to describe what they learned about themselves in the process. I also need to create an assessment rubric and the assignment handout.
17Digital Story
STEP 4: DEVELOP A PLAN FOR LEARNING ASSESSMENT OR GRADING
If you decide to assess learning, how will you determine that learning has occurred? For example, will you use a simple +/check/- grading system? If you use a rubric, will you use an existing one or create one? What will be your criteria and standards?
STEP 5: COMMUNICATE ASSIGNMENT PARAMETERS TO STUDENTS
How will you communicate assignment parameters to students? For example, through a handout? A prompt on a presentation slide? Assignment instructions in your online course?
I will adapt the AAC&U VALUE rubrics for Oral Communication and also The Skills for Lifelong Learning, and use the criteria of organization, language, delivery, central message, and reflection/self-assessment. My standards will include Excellent, Very Good, Good, Acceptable, and the potential of a “0” if the Digital Story does not meet the acceptable benchmark.
I will create a handout that I will distribute in class and also post in the course’s Learning Management System. I will also set aside some time in class to discuss the project with students and answer questions.
18Digital Story
STEP 6: IMPLEMENT THE TECHNIQUE
How will you adapt steps/procedures for your students? Are there any additional logistical aspects to consider?
STEP 7: REFLECT UPON THE ACTIVITY AND EVALUATE ITS EFFECTIVENESS
Note: This step will be completed after you have implemented the technique.Did this technique help you accomplish your goals? What worked well? What could have been improved? What might you change if you decide to implement the activity again?
I need to determine how much technical help students will be able to get from our Media Center should they need it. Or maybe I can choose to set up peer help, since most students now know video skills. I also need to figure out an alternative if students can’t upload to Drop Box, such as having them bring the file in on a flashdrive.
After I implemented this technique and evaluated student learning outcomes, I decided it was a very good addition to course activities. I also decided that some of the stories were quite powerful and other students would learn from them. I therefore decided to encourage students to share their stories and I reserved one class day for these presentations.
19Digital Story
Technique Template
This template is intended for use when planning to implement Digital Story
in your class. Fill in the blanks below, and use the information provided
elsewhere in the Instructor’s Guide to assist you in your thinking.
Course Name
COURSE CHARACTERISTICS
What are the situational factors that impact this course? For example, is it on campus or online? How many students? Is it lower division or graduate? Are there student attributes such as attitudes, prior knowledge, reasons for enrolling, and so forth that should be taken into account as you consider this technique?
STEP 1: CLARIFY YOUR TEACHING PURPOSE AND LEARNING GOALS
Why are you choosing this technique? What do you hope to accomplish?
20Digital Story
STEP 2: IDENTIFY THE LEARNING TASK’S UNDERLYING PROBLEM AND PROMPT
What is the question you want learners to address, or problem you want them to solve?
STEP 3: SET ASSIGNMENT PARAMETERS
What are the assignment logistics? For example, will this be assigned individually or is it group work? How long will the assignment take? Will students be submitting a product? What materials, resources, or additional information do you anticipate needing?
21Digital Story
STEP 4: DEVELOP A PLAN FOR LEARNING ASSESSMENT OR GRADING
If you decide to assess learning, how will you determine that learning has occurred? For example, will you use a simple +/check/- grading system? If you use a rubric, will you use an existing one or create one? What will be your criteria and standards?
STEP 5: COMMUNICATE ASSIGNMENT PARAMETERS TO STUDENTS
How will you communicate assignment parameters to students? For example, through a handout? A prompt on a presentation slide? Assignment instructions in your online course?
22Digital Story
STEP 6: IMPLEMENT THE TECHNIQUE
How will you adapt steps/procedures for your students? Are there any additional logistical aspects to consider?
STEP 7: REFLECT UPON THE ACTIVITY AND EVALUATE ITS EFFECTIVENESS
Note: This step will be completed after you have implemented the technique.Did this technique help you accomplish your goals? What worked well? What could have been improved? What might you change if you decide to implement the activity again?
23Digital Story
PRIMARY SOURCE
Content for this download was drawn primarily from “Learning Assessment Technique 36: Digital Story” in Learning Assessment Techniques: A Handbook for College Faculty (Barkley & Major, 2016), pp. 303–311. It includes material that was adapted or reproduced with permission. For further information about this technique, including examples in both on campus and online courses, see the primary source:
Barkley, E. F., Major, C. H. (2016). Learning Assessment Techniques: A Handbook for College Faculty. San Francisco, CA: Jossey-Bass.
CITATIONS AND ADDITIONAL SUGGESTIONS FOR FURTHER READING
• Lambert, J. (2010). Digital storytelling cookbook. Center for digital storytelling.
• Sanders, J. (2009). Reflect 2.0: Using Digital Storytelling to develop reflective learning by the use of next generation technologies and practices. JISC.ac.uk. http://www.jisc.ac.uk/publications/documents/reflectfinalreport.aspx.
• University of Houston (2015). Assessment and evaluation. Educational uses of digital storytelling. http://digitalstorytelling.coe.uh.edu/page.cfm?id=24&cid=24&sublinkid=43
• University of Wisconsin Stout (nd) Video project rubric: https://www2.uwstout.edu/content/profdev/rubrics/videorubric.html
COPYRIGHT
These materials supplement the “Digital Story” teaching technique video on the K. Patricia Cross Academy Video Library (kpcrossacademy.org). Copyright © 2018 Barkley and Major. Includes material that is adapted and/or reproduced with permission from: Barkley and Major, Learning Assessment Techniques. Copyright © 2016 by John Wiley & Sons, Inc. Released for use under a creative commons attribution, non-commercial, no derivatives license (creativecommons.org/licenses/by-nc-nd/3.0/). You are free to use it, copy it, and share it, as long as you don’t sell it, don’t change it, and do give us credit for it.
References and Resources
top related