Digital story examples
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The document explores digital storytelling as a trauma-informed pedagogy that empowers voices and fosters collaboration while addressing issues of race and racism. It categorizes stories into four types: stock stories, concealed stories, resistance stories, and counter stories, each offering different perspectives and insights on oppression and social justice. The document emphasizes the importance of engaging with these narratives to promote anti-racism and inclusivity in educational practices.
Digital story examples
- 1. digital storytelling, trauma, and racism mary e. hess rea 2021
- 2. trauma-informed pedagogy • fosters safety • nurtures trust and transparency • invites peer support and mutuality • supports collaboration by sharing agency • empowers voice by identifying and building on strengths • pays attention to cultural, gender, and historical issues • supports a sense of purpose InsideHigherEd
- 3. carefully designed storytelling work can be a very creative and empowering form of trauma-informed pedagogy
- 4. four kinds of stories storytelling project
- 5. stock stories • stock stories are the most public and ubiquitous in dominant, mainstream institutions, such as schools, government, workplaces and the media • stock stories are those told by the dominant group, passed on through historical and literary documents, and celebrated through public rituals, monuments and media representations • stock stories tell us a lot about what a society considers important and meaningful; for example, stock stories about race and racism provide a useful point of analysis for understanding how racism operates
- 6. concealed stories • coexist alongside the stock stories but most often remain in the shadows, hidden from public view. • though invisible to those in the dominant society, concealed stories are often circulated, told and retold by people in the margins whose experiences and aspirations they express and honor, and they provide a perspective that is often very different from that of the mainstream
- 7. resistance stories • are stories, both historical and contemporary, that tell about how people have resisted forms of oppression such as racism, challenged the stock stories that support it, and fought for more equal and inclusive social arrangements • resistance stories are the reserve of stories built up through the ages about challenges to an unjust status quo • these stories include stories of “sheroes” and “heroes” who have been excluded (though sometimes included and vili fi ed) in history books, but who have nevertheless struggled against various forms of oppression. Such stories can teach us about perspectives and practices that have existed throughout our history up to the present time thus expanding our vision of what is possible in our own work for the kin-dom of God
- 8. counter stories • counter stories are new stories that are deliberately constructed to challenge the stock stories • they build on and amplify resistance stories • they offer ways to interrupt the status quo and work for change • these stories enact continuing critique and resistance to the stock stories and enable new possibilities for inclusive human community
- 9. digital stories may embody any of the four • pre-produced digital shorts, speci fi cally useful for critiquing dominant representations (stock stories) • pre-produced digital shorts, speci fi cally created for anti- racism work (concealed and counter stories) • digital storytelling as a form of anti-racism work (counter and resistance stories) • storying practices to support people telling their own stories, within carefully designed and convened spaces
- 10. examples (if we have time)
- 11. engaging a stock story New York Times
- 12. Ta-Nehisi Coates engaging a stock story
- 13. Proud to Be engaging a stock story
- 14. Vox lifting to visibility a concealed story
- 16. Joan Baez a resistance story
- 18. Mark Miller, following Emmanuel Nine a counter story
- 19. a counter story
- 20. a counter story House of All Saints and Sinners
- 21. storying practices designed for good convening • four elements (feelings, actions, values, narrator) (B&H, 81) • tell a story / title it (B&H, 82) • circle of voices (B&H, 111) • grab a song, understand its lyrics as addressing transcendence (eg. Springsteen’s “Letter to you” as a psalm) (Hess, 133) • mash-up a psalm and a popular song (Hess, 133)
- 22. Stephen S. Brook fi eld and Mary E. Hess, Becoming a white antiracist: A practical guide for educators, leaders and activists (Stylus Publications, 2021) Mary E. Hess, Engaging technology in theological education: All that we can’t leave behind (Rowman&Little fi eld, 2008)
- 23. video citations: The New York Times (https://youtu.be/ax1eCYDXhdY) Ta-Nehisi Coates (https://youtu.be/gyiH3YcvRH0) Proud to Be (https://youtu.be/mR-tbOxlhvE) The president sang Amazing Grace (https://youtu.be/m9iYBifsOPI) Race explainer (https://youtu.be/VnfKgffCZ7U) 5 tips for being an ally (https://youtu.be/_dg86g-QlM0) I choose love by Mark Miller (https://youtu.be/Vh96Dt71ZGk) Quarter fi nals poetry slam (https://youtu.be/tv00xjClbx0) “I am not an issue” (https://youtu.be/nFhHieJOH5w) Katie Hendrickson ordination video (write to me for access)