Professional Documents
Culture Documents
Storytelling
Toolkit
2 CONTENT
Running a Workshop 17
Preparation Day 3: Creating Sound Resources 64
a. Getting ready a. Objectives/Outcomes of the Day Supplemental Information Template
About Women Win 3 b. Choosing a venue b. Schedule Day 3
c. Equipment and supplies c. PowerPoint presentation: Workshop Cheat Sheets
d. Facilitator readiness The Role of Sound
About Digital e. Participant readiness d. PowerPoint presentation: Digital Storytellers Bill of Rights
f. Facilitator success profile Sound Editing
Storytelling 5 g. Supplemental forms: e. Tool: File organisation Certificates
Introductory E-mail, Preparation f. Homework assignment:
What is Digital Storytelling (DST)? Document, Participant Pre-Workshop Self Finalise audio track Workshop Energisers
a. Definition Assessment Survey
b. History and framework Day 4: Visuals Other Useful DST Projects
c. What makes it unique? Day 1: Introduction to Digital Storytelling a. Objectives/Outcomes of the Day
a. Objectives/Outcomes of the Day b. Schedule Day 4 B.A.C.K.S. Impact Framework
Building Young Womens b. Schedule Day 1 c. PowerPoint presentation:
Leadership Through Sport c. PowerPoint presentation: Images & Photo Editing
Introduction to DST d. Homework assignment:
Connecting DST and Leadership d. Tool: Sample DST videos Finalise image selection,
Through Sport e. Homework assignment: Draft script creation and edit
Our Vision:
Women Win is an internationally Our Work One Win Leads to Another:
recognised centre of excellence By 2016, 1 M adolescent girls
Women Wins strategy to achieve our realise their leadership
on gender and sport. We are
mission is based on a constant interplay potential through sport
a thought leader and global between our three organisational pillars:
convener, strategically positioned Strengthen, Learn and Impact.
at the intersection of womens
rights, development and sport.
strengthen: learn: impact:
Women Win uses sport as a strategy to Through grants and We collect promising We deliver a world-
advance girls rights with a focus on three capacity building we practices and learn from class, evidence-based
areas: invest in organisations the field with the aim monitoring and evalua-
Addressing gender-based violence to deliver sport and of being a centre of tion system, drive an
Accessing sexual and reproductive empowerment excellence in identifying innovative research
health and rights programmes for girls. innovation, building agenda that bolsters
Gaining economic empowerment We partner with both tools and catalysing qualified research and
flagships, well-estab- dialogue that advances substantiated proof, and
Since our 2007 inception, we have become lished global leaders, organisations ability to report with consistency,
most effective as a cross-pollinator of as well as smaller, grass- address girls rights accuracy and efficiency.
impactful strategies, resources and roots groups that are through sport.
innovative tools that address gender employing fresh and
inequity while empowering adolescent innovative approaches.
girls and young women.
Our Values:
Girls are our purpose
Sport is our power
Innovation is our edge
Collaboration is our strength
Change is our promise
About
Digital
Storytelling
6 About Digital Storytelling
What is Digital The power of DST is in the process, not the Many organizations, including develop-
product. Its an opportunity to build young ment and womens rights organizations,
Storytelling? womens communications and leadership have adopted participatory media method-
skills, and amplify their voices. ologies, including Digital Storytelling. A
A. Definition tool of activism, healing, conflict resolu-
Digital Storytelling (DST) is a workshop- B. History and Framework tion and empowerment, DST has been
based methodology that focuses on the The Center for Digital Storytelling, based in adopted to address gender-based violence,
everyday persons ability to share aspects California, emerged from the artistic land rights, women living in situations of
of their life story. It is grounded in the ferment in the United States during the armed conflict, sexual minorities and sex
storytellers' control over the medium 1970s and 1980s. Practitioners and educa- workers.
words, images and audio so that the tors challenged the notion that art should
process of learning and production is as be reserved for the gifted or educated. In 2007, Women'sNet of the Association
powerful for the storyteller as the end for Progressive Communications, based in
product is for the audience. As they worked to increase access to South Africa, took up this methodology in
artistic expression, the wave of technolo- working with women living in situations of
A final digital story is a short video (24 gies in the 1990s offered new tools for domestic violence as well as young black
minutes) of images, voice, text and music expression and fertile ground for experi- lesbians facing sexual violence due to their
stitched together using low-tech, afforda- mentation. In 1994, the Digital Media sexual orientation. They used the method-
ble and accessible technology. Participants Center was founded, which laid the ology to encourage women's rights activ-
narrate first-person scripts that they write foundation for the 1998 launch of the ists to expand their ICTs skills to tell the
and then match with personal photo- Center for Digital Storytelling. The basis of stories that had the power to influence
graphs, drawings, music and sound effects their work is the ...power of personal policy change. Women Win partnered with
to tell their story. Once completed, DST voice in creating change. experts from APC to develop a DST frame-
stories are easily published online and can work that could emphasize girls leadership
be made available to an international and sport experience.
audience, depending on the topic and
purpose of the project.
7 About Digital Storytelling
C. What Makes DST Unique applications are used to craft and edit stories. telling power in the hands of women and girls,
The most important characteristic of a digital story DST helps them realize that they have stories
is that it no longer conforms to the traditional Alternative Research Tool: Digital stories are rich, that deserve to be told and shared. Telling
conventions of media, reporting and storytelling. layered accounts of human experiences. Unlike your own story in your own way is an empow-
The expressive capabilities and accessibility of traditional research methods such as surveys, they ering act in itself, but the content of the
technology offers a broad base from which ordinary can capture the complexity of growth, challenge, stories more often than not also challenges
people have the ability to craft and share their own tradition, etc. which can be linked to the impact traditional gender roles and expectations. In
story. pathway and M&E framework. addition, in order to create their own digital
stories, women develop new skills related not
Narrative Control: The DST methodology differs Feminist Methodology: The goal of empowerment only to storytelling but also digital technolo-
from all other media (documentaries, film, radio) in is to enable women to participate in society, influ- gy. With technology being a male-dominated
that the storyteller is in complete power of the ence their own situations and have equal chances sector, the fact that women develop this new
process - the participant chooses exactly what to as men have. All the unique qualities of DST knowledge and use technology to tell their
say and how to say it. As a process, the act of telling described above allow for DST to become a very own stories breaks the gender barrier and
ones story can have a profoundly empowering powerful tool for women's empowerment. The challenges once again stereotypes about what
impact on the storyteller. Participants actively Association of Progressive Communications Chat women can or cannot do.
construct and reconstruct themselves and their Garcia Ramilo describes the digital storytelling itself
stories through the process of narration. as a feminist method, as women get the chance to Finally, the process of digital storytelling is
speak their minds. The separation between a essentially feminist in the way that it becomes
female private sphere and a male public sphere can collective. Individual women bring their
ICT Skill Building: Through the process of partici- be destabilized as marginalized women become stories to the workshop, and during the
pating in a DST workshop and producing a story, visible through their digital stories. Through this sharing process in the story circle they both
young women are equipped with computer and visibility and increase in women's stories' media receive and give input on the stories of the
Internet skills. Beyond the personal empowerment coverage more female role models emerge, who, in other girls present, thus making the creation
of the experience, the intention of this training is their turn, will inspire more women on a communi- of these stories a collaborative process, where
that young leaders will share these skills with others ty, national or even global level. What is also impor- girls are supporting each other to refine their
and integrate digital storytelling into their activist tant is that, through DST, women and girls not only stories in the digital storytelling process.
work. become more visible, but also have the power to
determine the way they are represented, having
Enabling Access: Compared to traditional media, complete control of both the process and the
the digital medium is a relatively affordable and product of DST.
approachable form of technology for non-experts.
No previous technical experience is necessary to In addition, the process of DST disrupts tradition-
participate in a workshop and create a digital story. al hierarchies in multiple ways. By putting story
Non-professional equipment and free software
8
The 7 Elements to
Digital Storytelling 2 5. The Power of the Soundtrack
Music or other sounds that support and
The Center for Digital Storytelling (CDS) is embellish the story.
known for developing and disseminating the
Seven Elements of Digital Storytelling which 6. Economy
are often cited as a useful starting point as you Using just enough content to tell the story
begin working with digital stories. without overloading the viewer.
2. A Dramatic Question
A key question that keeps the viewer's
attetion and will be answered by the end of
the story.
3. Emotional Content
Serious issues that come alive in a personal
and powerful way and connects the audience the intention of this training is
to the story.
that young leaders will share
4. The Gift of Your Voice these skills with others
A way to personalize the story to help the
audience understand the context.
1 Adapted from http://storycenter.org/
9 About Digital Storytelling
How We Work such as effective tools that engage story, but share in the delivery of the
communities in conversations about workshop and serve as a peer support for
Partnerships and strategic alliances are gender-based violence. Level 1 participants.
a core element to achieving the Women
Win mission. The complexity and scale For Digital Storytelling, we have developed Level Three: Local Facilitation
of gender inequality means that no one 3 levels of engagement: The third level of DST is based on hosting a
can effectively tackle it alone. Our col- DST training at a partner location. Girls
laborations (formal and informal) allow us Level One: Storytelling Skill Building who have been trained by Women Win are
to increase impact and efficiency and, at The first level of engagement focuses on encouraged to bring their skills and exper-
their best, are rooted in the virtuous circle experiential learning. The primary objec- tise to their organizations and help others
of exchange. In all partnerships, we put tive is for young women to attend as to tell their stories of sport and empower-
an uncompromising emphasis on three participants and create their own DST ment through the DST process. This toolkit,
principles: videos. Participants are introduced to the in addition to one on one coaching pre and
Equity digital storytelling methodology and post workshop are options for support as
Transparency experience the process from start to end. DST trainees lead their own workshops.
Mutual Benefit In the spirit of Women Wins multiplier
effect, participants are selected based
One key element to our partnerships is our upon their leadership capacities at their
dedication to identifying and developing home organisations.
innovative tools that serve on-the-ground Equity
practitioners. The knowledge used to build Level Two: Facilitation and Technical
these tools comes from constant connec- Skill Mastery Transparency
tion and conversation with Women Win After participants have attended a first
partners around the world. The subject DST workshop, some are invited to deepen Mutual Benefit
matter is based on needs and trends, and their training. Here the primary objective is
answers questions ranging from building facilitation skills, in addition to
mainstream challenges, such as how to honing technical skills. Participants who
address common barriers to girls sport come for a Level Two training are given the
participation, to more specific queries, opportunity to not only produce a second
13 About Digital Storytelling
ww principles of Well-Being. Storytellers physical, tellers have the right to determine wheth-
emotional, social, and spiritual wellbeing er or not their names are attached to their
digital storytelling5 should be at the centre of all phases of an stories and whether they use images of
individual project and workshop. Strate- themselves/others or if these images are
The following principles serve gies to ensure the wellbeing of vulnerable blurred to protect privacy.
as a set of Women Wins non- participants are particularly important.
This is particularly important for facilita- Local Context. Workshop facilitators
negotiable principles for ethical
tors of DST workshops. should follow principles of cultural sensi-
practice in DST. Our principles tivity and, as appropriate, workshops
grow out of our core value: Truth. Storytellers must have the space to should be conducted in local languages
Girls are our purpose. We tell their own stories based upon their with co-facilitators who are cultural insid-
personal life experiences. Storytellers are ers. Methods should be adapted to fit
strive to ensure the safety and
encouraged to experiment with creative local technological resources and capaci-
dignity of our digital storytellers approaches; however, the stories with the ties, always emphasising the importance of
worldwide. greatest leverage are those grounded in the first-person voice, group process, and
personal truth. participatory production.
Informed Choices. Storytellers must have Ethics as Process. Facilitators should view
the information and ability to make ethics as a process, rather than as a
informed choices about the content, one-off occasion of gaining consent.
production, use and distribution of their On-going dialogue between storytellers,
work. staff members and coaches, and partner
organisations/institutions about how best
Ownership. Storytellers have the right to to design and implement an ethically
freedom of expression in representing responsible project is key to ethical
themselves in their stories. They should be practice. Discussion and decision-making
provided with the space and flexibility to about the responsible distribution of
describe what they have experienced, stories should be a key aspect of this
within the parameters of sport, and dialogue.
without being coerced or censored. Story- 5 Adapted from: http://storycenter.org/ethical-practice/
14 About Digital Storytelling 3 levels of influence:
Individual
Organisation
The Impact 1. A girl strengthens her leadership their program and its impacts by
skills and builds her self-confidence sharing the girls stories Community
As stated, DST is a valuable Girls are challenged to improve their - Organisations improve strength in
tool to promote and support leadership competencies by increas- monitoring and evaluation by using
ing their story telling skills, such as stories to document, share and assess
development of girls and
using hooks, narrative arcs, plot the impact of sport on girls lives DST
young women as leaders development and storyboarding participants build narration, audio
in their organisations and Girls improve their ICT skills: recording and editing skills
communities. Knowledge, - Overall computer literacy and skill Organisations build community
application engagement strategies through
together with the experiences
- Narration, audio recording and collecting girls stories and using
and skills acquired through editing skills them to engage various stakeholders
participation in the DST - Image generation, selection and Organisations build capacity to
workshops and the enabling editing skills mobilise resources/fundraise by
structures created by sport - Video editing skills, such as compil- leveraging digital stories
ing audio and image files along a
programmes and organisations timeline, compression, transitions, 3. A girl takes action and drives change
themselves, create the and appropriate credits Girls practice leadership by sharing
following pathway. This - Web publishing and social media their stories on a local, regional and
pathway of impact is our way skills global level. In this way they develop
a network of young female leaders,
of measuring, or proving,
2. A girl efficiantly uses her voice, ne- as well as role models and mentors
the impact of DST at the gotiates and exercises her rights Girls practice leadership by taking
individual level of the girl, Girls learn how to facilitate a DST action to drive change within their
at the organizsational level, workshop at their own organisation organisations and communities by
and at partner organisations using their digital stories for commu-
and at the community level.
Girls assume a leadership position nity events (i.e. DST film screening)
These levels align with our within their organization as the repre- DST provides a platform for the girls
Prepare - Practice - Play levels sentative at the DST workshop to advance/influence discourse as the
of leadership. We understand Girls practice leadership by sharing stories become visual evidence and
that, on these three levels, DST and using their stories: thus can provoke debate
- Organisations build capacity to
can have the following impact: advocate and raise awareness about
15
Workshop Basics
Each Women Win DST workshop has a tailored agenda that reflects the specific needs of
participants. Generally speaking, workshops are oriented towards the impact of sport on
individuals, organisations and communities. Five-day workshops are intense, demanding a
high-level of focus and commitment. Typically there are no more than 10 participants, in
order to maintain a low facilitator to participant ratio (1:5) and an intimate environment.
Women Win adapts its methodology to fit with available equipment, language abilities
and internet access.
Participants and facilitators are expected to attend the entire workshop. Trust in story
sharing is critical to its success and thus requires a full commitment from each person
present. Women Win employs a strict code of confidentiality throughout the workshop so
participants can express themselves in a safe space, without inhibition.
Women Win DST workshops can and should be adapted to fit the context, equipment
available and needs of the participants. For example, if you have trouble meeting the
minimal equipment requirements you may want to consider planning and facilitating and
Audio Storytelling workshop (AST) instead of a full DST (see Women Wins AST Toolkit).
Also, if you have participants who are hearing or sight impaired, you can adapt the
workshop to be purely visual or purely audio, by using some of the DST toolkit, even if not
all.
16 About Digital Storytelling
A. Overall DST Objectives B. Expectations of a DST Workshop C. Elements of a DST Workshop 4. Script Writing: We teach participants
The objectives for DST include: Below is a list of Women Wins expecta- There are twelve elements of a Women about the art of storytelling, including how
Improve girls leadership by equipping tions from a DST workshop. Win DST workshop. elements such as visuals and audio add
them with the DST tool and ICT skills to Create films, share films! depth to the story and should be consid-
amplify their voices locally, regionally, Develop and execute share plans 1. Ice breaker, introductions and ered alongside the words we write. We
nationally and internationally Integrate DST workshops within the energisers: Relaxing the participants and also discuss types of stories, the story arc
Empower girls to participate in society, movement of their work, sharing their helping them to feel more comfortable and hook to provide a pedagogical
influencing decisions that impact their skills with other girls with the facilitators and other participants approach to crafting compelling stories.
lives Engage third-party audiences: the is essential. Given the high-demand for
Enable girls to advocate for changes that media, community members, etc. to focus and long hours in front of a comput- 5. Story circle: Participants read their
will challenge gender norms and improve demonstrate the impact of sport and er, it is important to infuse the workshop stories aloud for the first time during the
the lives of many other girls and women their organisation, as well as advance with energisers (see Resources for a list of sacred space of a story circle. During this
in their communities and nations discourse for change ideas). process, participants are encouraged to
Improve organisations capacities to Contribute to WWs online platform with provide constructive feedback to their
share the impact of their work within films to help advance the discourse and 2. Overview: We share the overarching peers as a means of supporting the
their communities and amongst key build the case for sport. objectives of digital storytelling: what it is creative process. This element is very
stakeholders and why we do it. We also discuss the important and it is vital to allow enough
Build a global repository of stories that elements of digital stories and view time so that participants have the liberty
make the case for sport as an effective examples of digital stories. and space to engage in the full DST
strategy for developing girls leadership process. It is also important the story
3. Share plans: The intention for these circle remain a safe space, without outside
films is that they will be shared by individu- spectators.
als and their organisations to advance their
work. As such, its critical to explore basic 6. Storyboarding: Once the script is final,
communications strategies during the participants map out which visuals will be
workshop, such as identifying target used along a precise story timeline. Story-
audiences, developing appropriate boards are critical in maintaining an
messaging, connecting with media outlets, efficient use of time and keeping to the
planning screenings, etc. Each participant production schedule, as they eventually
then develops her own share plan, inform the video compilation process on
complete with a timeline, for sharing their the final day.
story.
17 About Digital Storytelling
7. Recording the voiceover: Participants including the use of screen transitions, 12. Screening: Hosting a DST film screening
read and record their own scripts. This is animations, title frames and end credits. where an audience views the digital stories
usually done using some type of voice The final film is rendered and exported as is an excellent opportunity to celebrate
recorder, but can also be a mobile phone a movie file that can be uploaded or the accomplishment of creating a film. It
or computer microphone. copied. also enables participants to experience
8. Visuals: This aspect of the training first-hand how it feels to have their stories
focuses on the use of visuals to enhance 10. Copyright, consent and ownership: In shared in a public space.
stories, including personal photographs, support of ethical practices, we include
illustrations, creative projects and inter- discussion related to copyright, the D. Five-day Overview
net-accessed imagery. Using a basic image Creative Commons license. We also Below is a table to summarise a standard
editing software application, we work with discuss consent and the ethics of if, who DST workshop programme that spans the
still images to resize, crop, blur and employ and how the stories can be used as well as recommended 5-day period. It includes
other tools for a creative look and feel to the young womens basic rights as story- the main topic of the day as well as key
the images that will enhance the story; in tellers. learning.
some instances participants may include
video clips. We encourage the use of self- 11. Reflection: Watching ones own words
illustrated visuals (drawings, paintings, and visuals often serves as a mirror into
sketches) in addition to or instead of the past. It is important to allow time for
photographs. discussion and personal reflection related
to the DST process after the completion of
9. Movie making: Participants put the workshop.
audio and visual aspects together to craft DAY MAIN TOPICS KEY LEARNINGS
the final story. This is most commonly
done using Windows MovieMaker or Elements of a digital story
iMovie. Basic film editing skills are taught, 1 About Digital Storytelling Art of storytelling
Leadership, Sport and DST
Preparation Six Weeks Prior Confirm details for venue and any equip- Familiarise yourself with the venue
Set the date ment reservations (lighting, internet password, location of
Create a participant list with contact Make any arrangements for food if toilets, etc.)
A. Getting Ready information providing, to include tea/coffee breaks Address any needs
Hosting a successful DST workshop Consider how many facilitators are and lunches Review the workshops daily agendas
requires thorough preparation and organi- needed based on the target group size; Test all equipment to ensure each works Print any documents needed (Consent
sation on the front end. It is important to enlist others if need be properly Forms, DST Certificates, Evaluations),
think through all aspects of the workshop, Research venues for the workshop and Consider which can be saved to a USB
from the social cohesion of the partici- the final DST screening Two Weeks Prior Double-check Workshop Equipment
pants to the daily logistics of food and If participants are under age, obtain Checklist (pg. x)
toilets. By being full prepared, organisa- Four Weeks Prior parental/guardian consent Troubleshoot as needed
tions and facilitators are better poised to Create an invitation and send it the Confirm participant transportation Write your story!
adapt to unforeseen situations that arise participant list details if necessary
during the week. Secure workshop venue Review Needs Assessment Survey Day Prior
Consider and invite local partners as responses, follow-up with participants Prepare venue, if not yet done
guest speakers who have not submitted Test all equipment, secure cables to the
Identify technological equipment needs If possible, prepare the venue. floor with tape as needed to avoid
and begin to gather what is needed Test equipment at the venue, including tripping
Update all templates, forms, presenta- internet access and electrical outlets Ensure sound-proof space for recording
tion material as needed (i.e. preparation Account for all items on the Workshop Shop for any snacks
e-mail with current dates) Equipment Checklist (pg. x)
Upload current anti-virus programme Day of
Three Weeks Prior and software applications needed on Arrive early in case you encounter any
Finalise participants, send Introductory each computer/laptop surprises
e-mail with attached Preparation Familiarise yourself with the equipment Double-check everything is in place and
Document and Participant Needs Assess- working properly
ment Survey One Week Prior Have fun!
Follow up with participants who have Confirm any guest speakers or field trips
not responded (i.e. to a local radio station)
Confirm food arrangements
20 Running a Workshop
Space to gather as a group (i.e. sit in a circle) Separate outdoor, group, and work spaces
Work Space
Small room or secluded space for recording Sound-proof recording studio
Power sources Sufficient power sources even if sharing Plug-in source for each laptop
Anti-virus Up-to-date anti-virus programme run on each computer that will be used USB memory sticksfor each participant with anti-virus programme downloaded
Access to Internet Reliable internet access Individual USB Internet modems if necessary
Microphone for audio recording Computers/laptops should have a built-in microphone for recording Portable audio recorder/external microphone and accessories, extra batteries
Projector LCD Projector and cables or final DST Film Screening LCD Projector and cables throughout workshop, screening
One shared external hard-drive to back-up files saved on the *In addition to the minimum, USB memory sticks for each participant
Hard drives for saving computer/laptop (minimum 500GB) (can include the antivirus programme)
Visual creation Access to images or supplies to create visuals for story Digital camera with cords and SD card reader
Audio editing A couple sets of shared headsets or earphones Headsets or earphones for each participant
Supplies Flip-chart or chalkboard (with chalk and eraser) Flip-chart and white board (with appropriate markers)
Tips for new facilitators Tip 4: Speak clearly and slowly. The Tip 7: Share your own story. Not only
most important thing is that all your is this good practice for you in telling
Tip 1: Read this toolkit completely participants can understand you. Be your story, but it will also build trust
through, including a review of Power- sure to use a loud and clear voice with your participants and make the
Point presentations and resources. when you speak to the group, and try workshop a better experience.
to speak slowly.
Tip 2: Always explain the schedule for Tip 8: Ask questions, be curious and
the workshop before you start, and Tip 5: Be encouraging and positive interact with participants. Storytelling
talk about expectations that partici- towards participants. Avoid telling is not an exact science. There is no
pants may have. You may even want them they are wrong or getting right or wrong. The workshop will be
to start every day of the workshop frustrated if they do not understand a greater success, with more powerful
with giving the schedule for the day. something right away. All participa- stories and more engaged participants
This way you and the participants are tion is positive, and you should take if everyone is encouraged to speak
all on the same page, and there will be comments and questions with a out.
less confusion about what is going to positive attitude, and if they are incor-
come next. rect, be sure that you give them the
correct information in a way that does
Tip 3: Plan you time. Not only should not make them feel bad.
you practice beforehand so that you
know how much time you will need Tip 6: Break up the workshop with
for each part of the workshop, but you little games or physical activities. It is
should also prepare extra time for difficult for anyone to sit and listen for top tip: group
questions at the end of every activity. hours on end, so it is good to have dynamics
Remember that not everyone learns at some little games prepared that you
the same speed and something that can do with the group when you feel Group composition can be
seems easy to you may not be easy for they are getting tired or are losing important - especially if
one of your participants. Be patient concentration. This will energise the one of the overarching
and leave plenty of time in your sched- group and make it easier to continue. objectives is to break
ule to repeat explanations and answer down social/cultural
questions if necessary. barriers through the
workshop. Consider
group dynamics such as:
age, race, caste/tribe,
religion, levels of
education and literacy.
26 Running a Workshop / Supplemental Forms
DST_2 Introduction E-mail 1 - Sample DST_3 Introduction E-mail 2 DST_4 Preparation Document (3 x A4) DST_5 Participant Needs Assessment Survey
Please make changes to fit your specific Please make changes to fit your specific
workshop. workshop. Please make changes to fit your
To be sent approximately 34 weeks prior As follow-up, for missing Participant Please make changes to fit your specific workshop.
Attach docs: Preparation Document and Needs Assessment Survey, sent specific workshop.
Participant Needs Assessment Survey 12 weeks prior
Attach Participant Needs Assessment
Survey
Dear Participants,
Here are four main things you need to do before you arrive:
Start thinking about your story! Write your script (250 words), gather
photographs (at least 25!) or any other items from home that help tell
your story
Complete the attached survey before <insert date>. You can do this
online at: [provide link]
Or, you can print it, complete it, scan it and e-mail it to me.
Read through the attached Preparation notes. This includes a list
of items to bring with you as well as questions that might help you
think about your story.
Use the camera, take photos, take videos!
My kindest regards,
<insert facilitator name>
DST_3
Thank you for your cooperation on this. And be sure you are practic-
ing with your cameras and thinking about your stories!
Kindly,
<insert facilitator name>
DST_4
29 Digital Storytelling Workshop 1/3
You will be
creating your
own short film
about you!
DST_4
30 Digital Storytelling Workshop 2/3
a. Have you used a computer before? YES/ NO - If NO, b. Have you ever edited audio before? YES/NO - If NO
please continue with Sub-section 4.2. AUDIO. please continue with Sub-section 4.3. IMAGES.
b. Is the computer you normally work on a PC or a Mac? c. What software(s) have you used? O Audacity
PC/Mac O Other ____________
v. Scissors
d. Have you ever taught others how to edit sound? YES/NO 1) I dont know what this is.
- If NO please continue with item f below. 2) I know what this is but I have never used it before.
3) Ive used it before but Im not very comfortable using it.
e. What software(s) have you used to teach others? 4) Im very comfortable using this tool.
O Audacity O Other _________
vi. Copy/Paste
f. Have you ever used Audacity to edit sound? YES/NO - If NO please continue with 1) I dont know what this is.
Sub-section 4.3. IMAGES. 2) I know what this is but I have never used it before.
3) Ive used it before but Im not very comfortable using it.
g. What is your experience with the following Audacity features? Please choose (1-4). 4) Im very comfortable using this tool.
viii. Exporting ii. Changing time duration of frame Section 5. Digital Storytelling Storytelling Skills
1) I dont know what this is. 1) I dont know what this is. 5.1. STORYTELLING SKILLS
2) I know what this is but I have never used it before. 2) I know what this is but I have never used it before.
3) Ive used it before but Im not very comfortable using it. 3) Ive used it before but Im not very comfortable using it. a. Have you ever created a story before? YES/NO If NO,
4) Im very comfortable using this tool. 4) Im very comfortable using this tool. please continue with Section 6. Facilitation Skills.
4.4. MOVIE MAKING iii. Visual effects, such as blurring, edge detection etc. b. Have you ever taught others how to create a story? YES/
1) I dont know what this is. NO
a. Have you ever made a film using a computer before? 2) I know what this is but I have never used it before.
YES/NO - If NO please continue with Sub-section 5.1. 3) Ive used it before but Im not very comfortable using it. c. What is your experience with the following story craft-
STORYTELLING SKILLS. 4) Im very comfortable using this tool. ing aspects? Please choose (1-4)
b. What software(s) did you use? O MovieMaker O iv. Adding subtitles or text to frames i. Writing scripts.
iMovie O Other _____________ 1) I dont know what this is. 1) I dont know what this is.
2) I know what this is but I have never used it before. 2) I know what this is but I have never used it before.
c. Have you ever taught others how to make a film using a 3) Ive used it before but Im not very comfortable using it. 3) Ive used it before but Im not very comfortable using it.
computer? YES/NO - If NO please continue with item f 4) Im very comfortable using this tool. 4) Im very comfortable using this tool.
below.
v. Lining up audio with visuals 1) I dont know what this is.
d. What software(s) have you used to teach others? O 1) I dont know what this is. 2) I know what this is but I have never used it before.
MovieMaker O iMovie O Other _____________ 2) I know what this is but I have never used it before. 3) Ive used it before but Im not very comfortable using it.
3) Ive used it before but Im not very comfortable using it. 4) Im very comfortable using this tool.
e. Have you ever made a film using MovieMaker or iMovie 4) Im very comfortable using this tool.
before? YES/NO - If NO please continue with Sub-section iii. Designing a story arc
4.5. CREATIVE COMMONS. vi. Creating transitions between frames 1) I dont know what this is.
1) I dont know what this is. 2) I know what this is but I have never used it before.
f. What is your experience with the following MovieMaker 2) I know what this is but I have never used it before. 3) Ive used it before but Im not very comfortable using it.
or iMovie features? Please choose (1-4) 3) Ive used it before but Im not very comfortable using it. 4) Im very comfortable using this tool.
4) Im very comfortable using this tool.
i. Adding, dragging, copying, deleting, sound segments/ v. Various plot types
pictures, saving vii. Exporting video 1) I dont know what this is.
1) I dont know what this is. 1) I dont know what this is. 2) I know what this is but I have never used it before.
2) I know what this is but I have never used it before. 2) I know what this is but I have never used it before. 3) Ive used it before but Im not very comfortable using it.
3) Ive used it before but Im not very comfortable using it. 3) Ive used it before but Im not very comfortable using it. 4) Im very comfortable using this tool.
4) Im very comfortable using this tool. 4) Im very comfortable using this tool.
vi. Facilitating Digital Storytelling Story Circle iii. I can evoke participation and creativity. Section 7. Your Equipment
1) I dont know what this is. O Strongly Disagree O Disagree O Agree
2) I know what this is but I have never used it before. O Strongly Agree 1. Do you have headphones that you can bring? YES/NO
3) Ive used it before but Im not very comfortable using it.
4) Im very comfortable using this tool. iv. I am skilled and confident in orchestrating the event. 2. Do you have a digital camera that you can bring? YES/
O Strongly Disagree O Disagree O Agree NO
vii. Making transitions O Strongly Agree
1) I dont know what this is. 3. Do you have a flash drive/USB stick you can bring? YES/
2) I know what this is but I have never used it before. v. I can use and overcome obstacles that appear in a NO
3) Ive used it before but Im not very comfortable using it. creative and constructive way.
4) Im very comfortable using this tool. O Strongly Disagree O Disagree O Agree 4. Are you planning to bring your own laptop or the laptop
O Strongly Agree from the organisation? If yes, please continue with the
viii. Idenifying and using a hook survey. If no, the survey is complete. Thank you. YES/NO
1) I dont know what this is. vi. I give feedback that affirms the wisdom of the group.
2) I know what this is but I have never used it before. O Strongly Disagree O Disagree O Agree 5. Does your laptop have a DVD writer? YES/NO
3) Ive used it before but Im not very comfortable using it. O Strongly Agree
4) Im very comfortable using this tool. 6. Is your laptop able to connect to wireless Internet?
vii. I assume responsibility for the group and the YES/NO
Section 6. Digital Storytelling - Facilitation Skills process.
O Strongly Disagree O Disagree O Agree 7. Do you run an anti-virus programme on your laptop?
6.1. FACILITATION SKILLS O Strongly Agree YES/NO
a. Have you ever facilitated any kind of workshop, sports viii. I can read the underlying dynamics in the group. 8. If yes, please state which one and the last time you ran
session, life skills session or event? YES/NO If NO, O Strongly Disagree O Disagree O Agree the anti-virus programme.
please continue with Section 7. Your Equipment. O Strongly Agree
9. Does your laptop have Windows Movie Maker (for PC)
b. Regarding your facilitation skills, please state how you ix. I maintain objectivity, boundaries and personal integri- or iMovie (for Mac)?
feel about the ideas below. Mark whether you strongly ty.
disagree, disagree, agree or strongly agree. O Strongly Disagree O Disagree O Agree 10. Does your laptop have a soundcard? YES/NO
O Strongly Agree
i. I prepare thoroughly before delivering a workshop.
O Strongly Disagree O Disagree O Agree x. I can produce efficient documentation identifying We really appreciate your time to complete this survey!
O Strongly Agree successes, challenges and ways to improve. Thank you and we look forward to having you in the
O Strongly Disagree O Disagree O Agree workshop!
ii. I can manage time effectively. O Strongly Agree
O Strongly Disagree O Disagree O Agree
O Strongly Agree
WORKSHOP
DAY
introduction
to digital
storytelling
38 Running a Workshop
facilitator tips:
day 1
Objectives/
Creating an open, safe environ-
Outcomes of the Day ment is critical to the success of
the workshop. Consider how you
Thematic Objectives Outcomes will cultivate that kind of space
Workshop Day 1 Understand the overarching objectives Groups rules of participation are even if the participants are
of the DST workshop and the process defined and fully understood by all
familiar with one another
Understand the pedagogic teaching Full comprehension of DST, the
behind constructing a story workshop agenda and process For efficiency, over-emphasise
Solid understanding of a digital story the need for a lean word count
Practical Objectives and its encompassing elements and keeping up with the pace of
Introduction
Understand the workshop agenda Inspiration for advancement of the workshop
including requirements for individual personal scripts
You may need to make yourself
to Digital
participation
Being to develop the circle of trust Tasks available in the evening to help
Storytelling
Establish group-defined rules of partici- Develop scripts, 250 words, and print participants narrow their story
pation and expectations of one another (double line spacing, 14 to 16 pt size) and draft scripts.
as well as facilitators Ensure laptops/computers have access
Comprehend the elements and key to internet, up-dated antivirus and
features of a digital story installed applications
Understand story script construction Begin to consider and identify target
Ensure laptops/computers have internet audiences and tools to reach those
access, updated anti-virus applications audience groups
and the necessary software downloaded
Schedule Day 1
Logistics
10:0010:30 Broad overview of week, logistics, other announcements
10:4511:30 Getting to Know Each Other Group Energiser: i.e. Two Truths and One Lie
Equipment Check
11:3013.00 Confirm laptops, internet, software
Work on scripts
14:0014:30 Expectations Check & Rules of Participation Group activity: Group creates list
the art of
storytelling
42 Running a Workshop
Schedule Day 2
TIME ITEMS SUPPORTING MATERIALS
Storyboarding
11:4512:15 The art of a storyboard and its evolution
Group activity: practice with images
Day 2 PPT
How to keep a storyboard
Ownership of Stories
Clarification on ownership and consent
Day 2 PPT: Ownership & Consent
Permissions (CC): What is Creative Commons?
14:4515:30 Communication channels/liaison with Women Win
Hand-out: Consent forms
Process to withdraw consent, and explanation of consent form
How will the digital stories be used and intended audiences
Name_DST_Date
Workshop Day 2
DST_6 Production Schedule DST_7 Storyboard Template DST_8 Share Plan Template DST_9 Consent to Conditions of Use
part 1: clarification
of terms and attribution
(story title):
Phone number(s):
E-mail address:
DST_9
Consent to Conditions of Use / part 2
usage
to be used in the ways identified below. (Check ONE of the answers below, 1, 2 or 3)
1. My digital story can be shared freely posted online, used by the host organisa-
tions and distributed to third party stakeholders such as funding organisations or
those interested in Digital Storytelling. (Note: this level of consent assumes your
story will have a Creative Commons attribution, non-commercial share alike license)
2. My digital story can ONLY be used by the following organisations for non-profit
purposes (circle all that apply):
Women Win My organisation Others attending this workshop
creating sound
52 Running a Workshop
Creating effects
Able to search for, download and import
royalty-free music and sound effects
Ability to think critically through devel-
oping and delivering messages to
defined audience groups
audio approval system, where
pairs listen to one anothers
tracks.
Sound Able to identify appropriate credits for
music and sound effect artists
Able to merge voice, music and sound
Tasks
Finalise audio
effects in Audacity Update storyboard
Able to create and edit full audio track in Visuals selection
Audacity
Comprehend audio spectrum, and how
to amplify and reduce sound levels on
different tracks
homework assignment: day 3
Main Activities
Presentation: Sound, Recording & Editing All participants must arrive to the next morning with a final
Record voiceover edit voiceover only and final audio track.
Edit final voiceover
Edit final audio, supplemented with Participants with extra time should search and gather
music and sound effects images.
Refining storyboard and continue select-
ing visuals
53 Running a Workshop
Schedule Day 3
TIME ITEMS SUPPORTING MATERIAL
Workshop Day 3 9:009:30 Welcome and Production Schedule Where are we?
Individual Work
Record story and download file
10:0011:30 Update storyboards
Search and select sound, music
Individual Work
Record story and download file
12:3013:00 Import story to Audacity and begin editing One-on-One assistance
Search and select sound, music
Revise storyboards as needed
Individual Work
Finish editing script with sound effects and music
14:0016:30 Search and select images
One-on-One assistance
Revise storyboards as needed
visuals
55 Running a Workshop
Objectives/
facilitator tips: day 4
Outcomes of the Day
Remind participants of the
Workshop Day 4 Visuals: Outcomes importance of connecting
Thematic Objectives Gain knowledge related to good image the visuals to the script, why will
Comprehension of pedagogic approach selection it make sense for the audience to
to visual selection Comprehension of image resolution and see that?
Select, import and edit images size
Ability to import, resize and edit images Encourage self-created art rather
Practical Objectives Ability to create an end-credit screen than using images from the Inter-
Able to select compelling, usable images with organizational logos net
Schedule Day 4
TIME ITEMS SUPPORTING MATERIAL
Workshop Day 4 9:009:30 Welcome and Production Schedule Where are we?
Credit Screen
Group work
12:0013:00 Why we use it
Distribute common shared end credit frame
How to make one
Individual Work
14:0016:45 Finish selecting, editing images
movie
making
58 Running a Workshop
Outcomes
Objectives/ Comprehensive ability to craft a facilitator tips: day 5
compelling video story
Outcomes of the Day Solid understanding of movie export This day is more about individual
process help, less about teaching. Each
Workshop Day 5 Movie Making: Ability to think critically about the participant will have specific
Thematic Objectives methodology of the DST workshop as questions related to her unique
Able to create a video well as self-reflect on the process project
Discuss an effective Whats Next plan
Self-reflection and group learnings Tasks It is critical that participants
Finalise films import audio and visual into
Practical Objectives Complete workshop evaluation MovieMaker from saved files on
Able to craft a final film with use of Collect consent forms their hard drives, not USBs!
Schedule Day 5
TIME ITEMS SUPPORTING MATERIAL
Workshop Day 5 9:009:15 Welcome and Production Schedule Where are we?
Tutorial: MovieMaker
9:1510:15 Putting it all together Day 5 PPT
Transitions, animations, fades
Exporting and saving films for distribution Export and save to main hard drive
15:0016:00 (Include scripts) Girls to also save on personal USBs
the process
61 Running a Workshop / Supplemental Form
WORKSHOP NAME: I was well informed about the objectives The workshop objectives were clear to me
of this workshop:
1 2 3 4 N/A
JOB TITLE: The content is relevant to my specific job The pace of this workshop was appropriate
1 2 3 4 N/A 1 2 3 4 N/A
instructions
Please rate aspects of the workshop on a I understood the majority of the content The workshop venue (meeting space and sleeping
1 to 4 scale by checking one of the boxes: of the workshop arrangements) were sufficiently comfortable
1 = Disagree strongly 1 2 3 4 N/A 1 2 3 4 N/A
2 = Disagree
workshop facilitator
3 = Agree
The instructor was well prepared and knowledgeable
4 = Agree Strongly
about the topics
N/A = Not applicable (Choose N/A if the item 1 2 3 4 N/A
is not appropriate or not applicable to
this workshop.)
The instructor was helpful and responsive to my needs
We are very grateful for your honest feedback
1 2 3 4 N/A
to help us improve. Thank you.
DST_10
Workshop Evaluation 2/2
I accomplished the objectives of this workshop 1. Do you have any recommendations for this workshop 2. What is most valuable (biggest learning) from this
related to workshop?
1 2 3 4 N/A
Name:
Supplemental Digital Storytelling
Information Workshop Organisation:
Template
Position:
But my games teacher motivated me. The skills enabled me to become a great
MOVE ON! GOOD KICK!, MOVE! leader among my peers and the entire
community.
I was proud to prove them wrong at the
end of the match when my team won the Yes! My leadership dream became true
tournament through my struggle and hard because I have been able to empower girls
work as the last man defender of the team. and young women in the community ...
to identify their pathways and successful
Football and I became friends, the best accomplishes despite the discouragements
friend I never thought I could have because and disappointments that come their
whenever I went for a match I always ways.
drove joy and future.
SAY NO to discouragements and
I grew passion in it when I joined Moving MOVE ON.
the Goalposts, an organization that
empowers girls and young women through
football.
69 resources / tools
DST_11 Audacity Cheat Sheet DST_12 Gimp Cheat Sheet DST_13 Digital Storytellers Bill of Rights DST_14 Sample Certificate of Completion
DST_11
Selected Menu Commands are used frequently in creating an audio recording. Many of the menu
commands can be accessed through the menus described farther down.
The Control Toolbar contains buttons for record/playback control and frequently used editing tools.
Click in a track to position the cursor or click and drag to select a range of audio; can be
used to select multiple tracks; shift + click a new point in the track to extend the selection
Provides detailed control over how tracks fade in and out; click and drag a green control
DST_12
Select-by-color: select
Flip: Mirror the image
similarly-colored pixels
throughout the image. Text tool
In relation to a digital storytelling workshop, you have: In relation to sharing your digital story after
a workshop, you have:
The right to know from the outset you at risk of harm. The right to decide with project The right to information about the
why a workshop is being carried out. The right to leave out information partners how your story will be limits of withdrawing consent for
The right to understand what is and/or photographs that identify you shared. your story to be shared, if it has
involved in the process of producing or others in your final story. The right to view and retain a copy of already been circulated online or via
a digital story. The right to reject story feedback your story before it is shared publicly CD, DVD, etc.
The right to know who might view (about words and images) if it is not in any way.
your finished story after the digital useful or offered in a spirit of The right to know who is likely to
storytelling workshop. respect/support. screen your story and for what
The right to ask questions at any The right to decide which language purposes.
stage of the workshop, before, to use in telling/creating your story. The right to know who is likely to
during or after. The right to be respected and watch or read your story and when
The right to ask for teaching instruc- supported by capable workshop (e.g. rough timeframe).
tions to be repeated or made more facilitators. The right to advice regarding the
clear. The right to a written consent form process of publically sharing your
The right to tell your story in the way regarding your preferences for how story and the difficulties it may
you want, within the limits of the your story may or may not entail.
workshop. be used, including a signed copy for The right to seek emotional support
The right to decide whether or not to your records. should you choose to be present
reveal private or personal informa- The right to know what contact and when your story is shown in public.
tion to fellow participants support you can expect after the The right to know if any money will
and instructors during the workshop. be made from your story being
workshop. shared (e.g. to support not-for-profit
The right to advice about whether human rights work).
revealing your identity or other The right to withdraw your consent
personal details regarding your life for the use of your story at any time.
that appear in your story may place
IS AWARDED TO
Maria Bobenrieth
Women Win
74 Resources / 8 workshop Energisers
2.
3.
Workshop Energisers Honey Walk
While it is good practice as 1. Ask everyone to get into one line.
a facilitator to always be Explain that in front of the line, there is
prepared with an energiser 1. a pool of a certain substance, that you
will explain to them, and they must walk
or two, especially as an ice- across that pool of substance as if it is
breaking activity. To promote Imaginary ball juggle really there. For example, if you say
participation, we encourage there is honey, the entire group must
1. Everyone gets in a circle or stands up walk across the pool of honey as if
facilitators to also ask workshop
from their chair. their shoes are sticking to the honey,
participants to lead energisers 2. The facilitator starts juggling an making exaggerated moves with their
that they know. Listed below are imaginary ball (either using their feet, legs to unstick their shoes and keep
a few ideas, inclusing inclusive their shoulder, head, elbow, buttock, moving forward. Encourage everyone to
energisers to include participants knee, thigh, any part of the body). After be creative, making appropriate noises,
a couple of seconds, the facilitator calls for example, if they are walking across
with disabilities. out someones name and using the hot coals. Ask the group to come up
body part they are juggling with, must with substances as well
hit the ball to that person. 2. Below are several examples
3. That person accepts the ball and starts of substances:
juggling with another body part, then A- Honey
does the same thing, saying someones B-Feathers
name and passing the ball to them. C-Hot coals
4. When passing the ball, the participant D-Ice
must made a sound, which represent E-Banana peels
the ball being passed. This could be
whoosh or zoom. Tell participants to
be creative.
75 Resources / 8 workshop Energisers
4
3
Lion, Warrior,
Move Like You Old Lady 5
Mean It 1. Split the girls into two teams. Have the
form two lines shoulder to shoulder so Two Truths and a Lie
1. Ask the girls to get into a large circle. that each team is facing each other. (inclusive energiser - does not require
Each girl must think of a special move 2. Explain that they will be playing the standing)
for herself. (For example, she can wiggle game rock, paper scissors but human 1. Ask each girl to write down on a piece
their arms or do a funny dance). style (this game might be called differ- of paper two things that are true about
2. Pick a girl to begin with. In her spot in ent things in different cultures). her and one lie. Explain that we will be
the circle she must do her special move 3. The three characters are lion, warrior trying to guess which things are true
and say her first name. and old lady. The lion beats old lady, the and which one is the lie so she must
3. Then, the girl to her right must mimic old lady beats the warrior and the warri- write a lie that is difficult to tell it is a
the move the girl before her made and or beats the lion. lie.
say her name and then make her own 4. To make the lion, the girls must roar 2. If you want, before the girls write their
special move and say her own name. loudly and put their hands up like claws. truths and lies, do an example by giving
4. The next girl must do the same thing To make the warrior, the girls must the girls two truths and one lie about
but mimic both the moves of the first make a stance as if they are shooting an yourself and having them guess.
and second girl and say their names. arrow. To make the old lady, the girls 3. After each girl has written her three
5. This continues until the last girl, who must hunch over their back and pretend things, go around the group and have
must remember everyones special to be using a cane. them read out loud what they wrote.
move and name before she does her 5. Start with one side of the line. The first Then, have the whole group try to guess
own. two girls on each team will jump up an which two are true and which is the lie.
6. If the girls get stuck and cant remember down three times. On the third time, See whos two truths and a lie fools the
a name or a move, tell the other girls when they land, they must make either most.
that they can help her out. a lion, warrior or old lady.
6. The winner will win point for her team.
* this can be done to the rhythm of a song Go down the line until you go through
that goes My name is (insert name) clap all the girls. The team with the most
clap and this is my dance, clap clap. points wins.
76 Resources / 8 workshop Energisers
6
8
Beat the Feet
Knee Tag
1. Everyone must sit in a circle and put (inclusive energiser - does not require sound)
their feet into the circle. 7
2. Choose one person to sit in the middle 1. Divide the group into pairs. The two will
of the circle, ready to tag peoples feet. play against each other.
3. A participants starts by saying a girls Im Listening 2. The pairs face each other and the object
name in the circle. The tagger must try (inclusive energiser - does not require of the game is simply to touch the other
to tag her feet before she can say standing) persons knees to get points. At the same
another girls name in the circle. 1. Ask girls to get into partners. Tell them time you must move to protect your own
4. If the tagger is able to tag her feet they have two minutes to tell each knees.
before she says someone elses name, other about their weekends. The rule is 3. Pairs play to 5 points and then change
she is now in the middle. they have to talk at the same time. partners.
5. You cannot say the name of the person 2. After two minutes, call them back and
who just said your name or you are in have them try to tell the whole group
the middle. what their partner did on the weekend.
6. You also cannot pull your feet back as They probably wont be able to tell
someone is trying to tag them or else much since they were talking and not
you go into the middle. really listening.
3. Now, have each pair go back and take
another 2 minutes to tell each other
about their weekends but separately so
one person is talking and the other is
listening.
4. After 2 minutes, bring everyone back
together and ask what the difference
was in the conversations.
77 Resources
4. 5.
b.a.c.k.s
Other Useful DST Projects B.A.C.K.S. Impact Framework
behaviour:
Below is a list of additional websites that Women Win Women Win believes that a true outcome goes beyond The way in which one acts, especially
finds useful in relation to digital storytelling. what we as an organisation do, but above and beyond towards others.
rests upon what the programme accomplishes. In other
Centre for Digital Storytelling words, we measure outcome in what change happens attitude:
http://www.storycenter.org for those being served because of what the programme A settled way of thinking or feeling a point
does. We therefore have developed a specific framework of view that shows a persons sense of self
Take Back the Tech of indicators based on the backs-measures 4. and values (attitudes inform behaviour)
https://www.takebackthetech.net
These are changes in Behaviour, Attitude, Condition, condition:
Insight Share Knowledge and Status. This framework allows us to The state of a person against a specific
http://www.insightshare.org contextualise the outcomes, and make concepts such situation, context or circumstance which
as empowerment and leadership more s.m.a.r.t. affects the way in which people live (for
Sonke Gender Justice (specific. measurable, achievable, relevant, time- example conflict, vulnerability, safety)
http://www.genderjustice.org.za/tools/ phrased) and comparative in both qualitative and
digital-stories.html quantitative terms. Women Win defines the b.a.c.k.s. knowledge:
as representing changes in: The facts, information and skills a person
acquires through experience or education
status:
A position in a community the way how
others perceive you, or label you based on
personal and particular characteristics.
78
This toolkit is a work in progress. Women Win will update the content based on new knowledge that comes with
implementing Digital Storytelling workshops in new environments and situations. Your feedback is welcome.
Contributors
Karen Holst
Alison Carney Special Thanks
Eleni Stergiopoulou DFID
Nicole Matuska Women Win Programme Partners
Sarah Murray
Werkplaats Amsterdam
WomenWin.org
Facebook.com/WomenWin
Women_Win