Tessa’s Digital Storytelling Handbook (with a LOT borrowed and stolen from others in particular shamelessly from the wonderful Sally-Jean Shackleton and Women’sNet – thank you).

What is it?Digital Storytelling (DST) is a learning/creating experience supported by technology, allowing participants to create their own short film containing voice, imagery, and music.

Aim of the processTo complete a digital story that is 2-3 minutes in length and made up of about 20-25 images and has a script length of about one page, double-spaced

How does the process work?The process of digital storytelling can be broken into a series of steps.

1. Planning and Writing with Scripting/Story circlesDigital storytelling first begins with constructing a story – it is very important that the story is a first person narrative. This stage is very important. Stories should be structured around a theme. Stories are prepared using a mixture of group work and individual work – where participants brainstorm ideas together and share potential stories and give each other feedback in ‘story circles’. The end result of this process is a refined script. This step should not be rushed.Participants should start by planning and get feedback at this stage from other participants before they then work on refining it.

2. Audio recordingOnce someone has finished their script, they are ready to record the audio narrative. Often one workshop facilitator will be assigned to support this process – when a participant is ready they will find the facilitator, record their story (ideally in a single take) and then the facilitator will give them a digital file (Wav/mp3) with their audio narrative on.Because people are often nervous recording the voice over it is best to record it in 2-3 sentence “chunks” so if people make a mistake you can re-record just a small section, not the whole thing.

3. StoryboardingThe next stage is thinking through how to match images with text. Participants may have bought photographs, drawing or images with them, or they may want to act out/illustrate their stories in the workshop, or find images online to illustrate their ideas. It is sometimes a good idea to get participants storyboarding prior to locating any multimedia as it forces them to think through exactly what images they want before looking for them. Images that participants have brought with them can be scanned in/photographed at this stage. As a rule of thumb digital stories tend to work best with about 20-25 still

images.

4. Editing/creating the storyThis stage of the process is done on computers using basic editing software (see software section below). It is a good idea to start with a basic demonstration of the software, and back this up with simple handouts that describe the process. Participants place their audio recording on a timeline and then use their storyboard as a map to construct the edit. Another ambient/music track can be added if desired. The final projects are then ‘rendered’ to give a self-contained movie file.

5. Sharing the storiesThis is perhaps the most moving stage in the process. Participants see their own completed stories for the first time, and those of their colleagues. Screening often give participants unexpected insights into their colleagues.

Who does it?www.storycenter.orgwww.digitalstories.orgwww.silencespeaks.org/stories.htmlwww.ibiblio.org/solympics/home.htmlwww.digitales.us/gallery/gallery_living_memories.phpwww.engenderhealth.org/ia/wwm/wwmds.html#www.sahistory.org.za/pages/mainframe.htmwww.womensnet.org.zawww.bbc.co.uk/wales/arts/yourvideo/queries/capturewales.shtmlwww.apc.org/en/projects/digital-storytelling

WHY Digital Storytelling?

“Stories can accomplish what no other form of communication can – they can get through to our hearts with a message. In our world of information transfer, data exchange, and media impressions, where we have become callused by so much communication, stories have the power to speak to us about what truly matters.... In our work we are surrounded by stories of hope, stories about healing, stories about fairness, stories about making a difference, stories about community, stories about connection”. -Will Rogers in The Story Handbook!Storytelling can be a powerful, inclusive way to engage the members of a community in collaborative process, to gather information about community perspectives on land-use and foster shared ownership of planning for the future. Here are several reasons why to incorporate storytelling into your project:Storytelling draws in more voices. Most planning processes are not inviting to people who may not have experience with land use issues or who do not feel comfortable speaking up at the typical public hearing. Storytelling, on the other hand, allows anyone to share their perceptions in a form that is common across cultures. And stories provide a human face to the complex challenges facing communities today.Storytelling creates connections. Storytelling can bring to life shared experiences and community values and can be an effective way to build common ground among individuals who typically do not connect. Stories can provide a common text for spurring community dialogue about planning for the future.Storytelling builds empathy. How many times have you read a book or watched a movie and found yourself understanding a character who is so different from yourself? Listening to someone else’s story allows us to be open to their views; it gives us a space to reflect on their perspective and grow to see new possibilities.Storytelling teaches us the consequences of our actions. Telling stories can illustrate how a community has changed over time. Stories can honor and illuminate the past and allow us to trace the roots of how we came to be who and what we are today.Storytelling can give us hope for the future. A story can also speak to our aspirations for the future in a way that invites others to feel connected to and share in that vision.Storytelling is action. Through the process of telling our stories and listening to others’ stories, we have an impact on our surroundings, we take a stand, we matter, we participate in our community. Our stories become a part of the living community archive.

What software can you use?

For the movieMost commonly we use ‘Windows MovieMaker’, which comes free with the Windows operating system – ‘Photostory’ is another option and can be downloaded. On a Mac participants can use iMovie. Some people use Comic Life software. There are also some apps now available for iphone and ipad, notably – ‘Sonic Pics’ (free), ‘Storyrobe’ (free) and ‘Storykit’ ($2.99). Their respective websites are:

SonicPics: www.sonicpics.comStoryrobe: www.storyrobe.comStoryKit: en.childrenslibrary.org

and a blogpost introducing themhttp://www.speedofcreativity.org/2010/11/14/mobile-digital-storytelling-with-storykit-storyrobe-and-sonicpics-edapp/

other options for making movies ·        Adobe Premier (bought)·        Quick Time Pro (bought)·        Cinelerra (open source)

 

you can get some open source software and helpful guides athttp://audiovideo.ngoinabox.org

For audio editing by far the best package is AUDACITY, which is free and cross-platform (ie. you can use it on macs and pcs)http://audacity.sourceforge.net/

 For editing images·        Adobe Photoshop (bought – although you can get 30 day trials)·        GIMP (open source, free)·        Irfan View (free, open source)

you can get some open source software and helpful guides at:http://openpublishing.ngoinabox.org/?q=toolpage/1/3

Links to Tutorials and Video Tutorials

This is not an exhaustive list, but just a few examples.

Tutorials for Tools: Using Windows Movie maker:

http://www.atomiclearning.com/k12/en_GB/moviemaker2_uk (Includes video Tutorials)

How to make Digital Stories using imovie in HD Apples ilife ’06 http://www.photobus.co.uk/print/iMovieHD_06_tutorial.pdf

Adobe Premiere Pro v.1.0 for Windows XP: a tutorial http://www.photobus.co.uk/print/premierePro_tutorial.pdf

GIMP image editor has some tutorials at http://www.gimp.org

Tutorials for Process: Centre for Digital Storytelling Cookbook:

http://www.storycenter.org/cookbook.pdf (Creative Commons Attribution-NonCommercial-ShareAlike 2.5 License)

BBC A Guide to Digital Storytelling http://www.bbc.co.uk/wales/audiovideo/sites/about/pages/howto.shtml

(may be used) YearUp (NGO in USA) manual for digital storytelling, link can be found at

Storiesforhchange.org, link: http://storiesforchange.net/resource/yearup_digital_storytelling_manual

Links to Video Sharing Websites

Blip TV: http://www.blip.tv/ Google Video: http://video.google.com/ Youtube: http://youtube.com http://storiesforchange.net/ (non-profit website)

(don’t forget to read the USER POLICY of the video sharing site you use!)

STORY EXERCISES

Story Circle – Connecting Story tellers and the storyBasically, story circle means that storytellers each get to share their prepared story with each other and facilitators, and receive feedback on the elements of their story. The space where you do the story circle should be private and informal – preferably not a room with computers in it! Story circle takes place during step 3 and helps participants finalise their scripts.

Your participants should come to story circle with a story already written. If you need to, give participants some time to prepare a story of no more than 1 typed page.

Process: - Prepare storytellers for the process by framing how comments should be

made – supportive, respectfully and without taking ownership or removing the autonomy of the storytellers’ voice.

- Ask participants to agree that the story circle is a space where confidentiality is respected and that nothing that is shared leaves the space. This is important because not everything storytellers share will be included in their final stories

- Each storyteller gets a turn to speak their story. I think it’s best to ask for volunteers – take time to wait for someone to volunteer. In the process, don’t be afraid of silence.

- It’s important to acknowledge strong emotions in the telling. If a storyteller cries or is angry, you as the facilitator need to contain the space and hold the emotion – be steady, be prepared. If participants want to comfort someone, let them, but keep the space open, and the story going. Try not to break the circle.

- After each story, participants are asked to make comments or give feedback. Intervene in the discussion if comments question the authenticity or ‘truthfulness’ of the story.

- The facilitator closes the discussion by thanking the storyteller and asking for another volunteer to share their story.

The process might take some time, but it’s important that everyone gets a chance to speak and gets equal opportunity for engagement.

Once everyone has shared their story, the facilitator closes the space with thanks and acknowledgement.

Storycircles with a Purpose (10 minutes plus 10 minutes per draft)*

Small Groups (4 people): Sharing the Drafts

1. Warming up: Look at the images/stories you brought to the workshop: Show one to the group; the group jots down words in response. Share these.

2. Choose one of the drafts, the one that speaks to you the most as something to share with the community, something that gets to the heart and soul values. Spend about ten minutes rereading and revising in response to the preceding discussion and exercises. Think about how you will read it aloud.

3. One by one, read and respond to the story drafts. The reader will read the draft through once. The listeners should focus on the arc of the story and its message, thinking about ways to help the writer move to revision.

The group will respond (in this order, everyone contributing to each aspect):

a. What is the story about?

b. What was the most memorable moment? Why?

c. What confuses you or do you need to hear more about for the story to articulate clearly its message?

d. Does the arc of the story work well: does the beginning start just where it needs to; does the middle create vivid details; the ending feel like the end

Digital Storytelling Early Process

 Write a one-hundred to two-hundred word draft of a narrative. As eventually you will be reading this narrative aloud in a voiceover, it is important to consider the following questions:

Where is the dramatic moment—the actual moment in time when something momentous occurs?

What does this story reveal about the topic?

Why is it necessary to tell this story?

 Do you open by grabbing the reader’s interest in hearing this story?

 Do you end in a way that suits your objective?

Write the three-sentence version of narrative:

Sentence 1- Beginning:

 Sentence 2- Middle:

  Sentence 3-End:

 How do your sentences work individually and with one another to create a flow?

How does meaning build because you are reading it aloud?

How will you use your voice? How do timbre, speed and modulation affect the meaning? Practice different ways of reading your script. Record and listen to yourself.

How might images and soundtrack pull their weight and not act as appendages; in other words, why can’t this story be a radio story?

Telling stories: on small pieces of paper, prepare topics such as: “my first love”, “how I got my name”, “the story of my birth”, “my first day of school” etc. Fold them up and ask each participant to pick one out of a hat, without looking at them just yet. Once everyone has a piece of paper, explain: “you have 30 seconds to consider the subject on the paper, and one minute to talk about the subject. You will turn to the person sitting on your right, and speak about the subject on the paper for a minute, once you are done, your partner will speak”. The object of the exercise to get participants in the mood to tell stories, and also as a way for participants to get to know each other better. Object exerciseTo introduce the group to one another through story, image and metaphor as well as to some of the concepts about stories and storytelling we will cover during the workshopExploring the objects – look at the objects, but don't discuss them.Each person takes six sticky notes. Write down a word or phrase on each note in response to the array of objects. (6 notes, 6 words or phrases) Arrange the responses according to patterns you discover, and discuss the similarities and/or differences between responses.The workshop leader will time a minute. Participants listen to the contours of a minute. and think about how in this timeframe they will tell the story of the object. One by one, with no discussion between tellers, participants will tell their stories to their small groups.

Once all the stories have been shared, discuss a. striking moments. What do you remember most vividly? Why? What do you notice about these stories?

b. what you notice about yourself as a storyteller, as a listener. What is the effect of being in a story circle?

c. how you might "catch" one of these stories--choose one of the stories that seems to have potential to bring "speak" What would you add or revise to the storyline in order to extract more meaning?

Think about how this story could be useful. Focus the story. Take 5 minutes to prepare by jotting down the important message of the story-why do you want to tell this story- and five critical details to include. Sketch out the beginning line, the middle line and the final line.

As a group, map the stories - how they relate to one another, talk to one another, and talk to and for the communities they come from

Objectivity and Subjectivity: Ask each participant to think of one truth and one lie about themselves. Do a go-around – the person on the right will guess which is the truth and which is the lie. Once everyone has had a turn, comment that common criticism of digital stories is that “they only tell one side of the story”. If someone else told your story, would it be more 'truthful' than your own? Does truth=objectivity? Facilitate a discussion on how we might challenge mainstream media representations of women and girls and men and boys. What would this kind of media look like? How will we be different from mainstream media portrayals of women?

Freewriting – write for 60 seconds – withhold your inner critic

I remember….complete for 2 minutes

Write about a dream you had, even if it’s in scraps. What is the mood of the dream. Does it link to anything in your waking life?Freewrite using the dream as a springboard for 3 minutes.

Without thinking of a story describe a character. Male/female, race, oocupation, age, physical appearance, mood. Where are they? – city/country, inside/outside, alone/with peopleDescribe a second characterNow link the 2 characters – do they know each other? if so how? if not describe their meeting.

Pick a myth/fairytale/newspaper article and rewrite it.If it’s sad what would you have to do to make it funny?,etc

Use a sentence from someone else as the start/basis of an improvisation

Write a paragraph in which the first sentence starts with ‘a’, the second with ‘b’, etc.

Go through the dictionary, find 5 words that catch your eye. Construct a paragraph using all of them.

AppearanceDescribe someone you know – a friend/neighbour – in terms of their physical appearance – physical characteristics, how they dress, how they move, and the

objects they have around them. Go through the description – mark the items that might be a clue to personality. Can you then change the inexpressive details to make them clues to this person’s personality?

FeelingTake a strong feeling that you’ve experienced recently and give your character a different reason for experiencing it. eg. fury at cynicism of politicians might become road rage – often putting feelings into characters allows you to fully express them.

ActionDescribe your character making a cup of tea. Now do so from the character’s point of view – not you narrating them – so we know what you are thinking when you make the tea. The way a character looks at other characters reveal a lot about them.

Take one of your character descriptions and rewrite it without adjectives or adverbs – this will force you to be specific and ‘show’ rather than ‘tell’ – if the character looks tense what is it that makes them look this way? take away the adjectives and adverbs and you’re forced to describe the character with verbs – actions, body language, gestures, posture, activities.

Hand Mapping:Use the technique of hand mapping to get participants telling stories in visual ways, and also as a way of getting to know each other better. Hand mapping is an adaptation of body mapping and needs between 45 and 60 minutes. You can focus the content of the hand mapping exercise on the thematic areas of the workshop by framing broad questions for people to answer.

An example here is the hand mapping exercise that Nicole Le Roux facilitated at the Women’sNet/APC Feminist Tech Exchange in Cape Town in 2009, here are her notes:

A few thoughts for framing your hand mapping work: I've found that the broader the topic the more natural and deep the discussion. Of course it also has its benefits to limit the discussion. I'd keep participants away from writing - hand mapping gets you at least partially out of your head and into your creativity, and it will be difficult to do if people are thinking of nice intellectual ways to write things. Without writing it takes a bit longer (especially in a group of people who are not use to thinking in colour or metaphor)- and so less works better.

Here's my list:

- Outline your hand in the colour of your relationship with technology For example, I might make one half of my hand green for growth and possibility and the other half grey for confusion.

- Put down two to three ways that technology has helped your work, and two to three ways it has complicated it or made it more difficult. I'd add here about how technology connects or disconnects you from your environment/surroundings. (I wouldn't limit this to a part of the hand. The best part of the mapping is that everything you do is a choice - so if you put something inside your hand it links to you, and if you put it outside your hand it is linked to something outside of yourself, etc. I would recommend not limiting that too much so as to allow room for the participant's creativity. Ex. I might want to put pin and orange arrows from my fingers outward for how I share my voice using technology, or draw a box around my hand for how technology has limited me.)

- Five technologies that you know well inside each of the fingers.

I will make a hand map as an example and share that to get the creativity moving. I am thinking it would be good to have one large piece of paper in the middle of every group (we can divide them up for discussion purposes - 6-10 people per group). How will the seating be? It works nicely to have everyone work on the same paper together, because then it becomes more communal and breaks the ice quickly. It also creates a more beautiful/joint product.

To do hand mapping you will need: Water based paints (like poster paints) Cups, old bottles or other containers for water Paper (sealed) or plastic plates for taking paint to maps (to save paint and to

not have a rush to the paint table!) A paintbrush per person Pencils Paper towels for messes! Paper – 2 meters for each group of 5/6 people

Set up everything before the session, and include time for getting settled with paint and paper and dividing into groups.

IMAGINING EXERCISESFull Group: Immediate Responses to Images and Words (15 minutes)

Write down the first word that comes to mind when you see these images.

2. Words-Responses: Jot down the first word that comes to mind in response to the words given by the workshop leader. Share these aloud at the end of the series.

3. Words-Metaphors: The words will be repeated, this time, come up with a metaphor or simile for each word. Share these aloud at the end of the series.

Discussion: What do you notice about the way you respond to images and to words? What do you notice about the group's response? Did anything change when you had to write

a metaphor? When you heard everyone else's? What can we observe about the act of listening?Picture this! This exercise is a good one to do on the day participants will be doing their story boarding and imaging. It gets them thinking about making pictures creatively and is an adaptation of the ‘pictionary’ game.

On pieces of paper, write down subjects like “crying baby”, “fierce animal”, “protest march”, “danger”, “storm clouds” etc – make sure you have one for every participant.Participants pick a paper from a hat (or bowl!).Then, each participant will have to draw on the flip chart paper, while others guess what the subject is. Participants have 2 minutes to draw. When the game is finished, make comments about creative use of images or drawings.

THINKING ABOUT IMAGES FOR Digital Stories

Consider what kinds of images will help tell the story: literal or metaphorical, concrete or abstract, long-shot and close-up, colour or not, and how the images will move from one to the next, considering how an image is “a peculiar and paradoxical creature both concrete and abstract,”

Gather 10-30 images you might use, being mindful of copyright restrictions.

 Questions to ask:

Why these images?

How do they contribute to meaning rather than look pretty?

 How do they work individually and together?

 How do they carry the story’s drama?

 Write the three-sentence version of the visual narrative:

 Sentence 1- Beginning:

 Sentence 2- Middle:

 Sentence 3-End:

“In a general sense, the meaning of a photograph depends on the discursive efforts I put into it and on the tensions between my own interpretation and that of other viewers. This is at least one part of the creativity and tension of viewing, which encourages the development of a variety of different vantage points as well as

contestation around the meaning of images.” (Ron Burnett (2005) How Images Think, M.I.T Press, Cambridge, Massachusetts, p.14)

SOUNDTRACK

Consider the audio elements, how you will use your voice and/or the voices of others, and how non-vocal sounds might interact with voice. Consider whether you want to include a music soundtrack or ambient sound. If so, what kind of music would help tell the story? What role does the music play? Try out several very different kinds of soundtracks that create contrasting moods and tones.

 Write the three-sentence version of the sound narrative:

 Sentence 1- Beginning:

Sentence 2- Middle:

 Sentence 3-End:

STORYBOARDING

 Storyboard the digital story, exploring the repercussions not only of pushing image against image, word against word, and sound against sound, but image against sound against word. Think about the way someone “reads” a digital story: “Because users can click on a video clip, turn it off by closing the window, replay it, or skip forward or backward in the narrative, the use of video becomes a dialogically fraught element: it enhances, disrupts, complexifies the notion of narration itself.” (Helen Burgess, Jeanne Hamming, Robert Markley “The Dialogics of New Media,” in (eds) (2003) Mary E. Hocks, Michelle R. Kendrick Eloquent Images: Word and Image in the Age of New Media MIT Press, Cambridge, MA p. 75.)

Instead of filling out a storyboard template, draw your own, creating the frames after you have selected the image.

CONCLUDING EXERCISESOne Small Stone: A good exercise to do when your workshop is concluding.

Gather small stones from around the venue- one for each participant. Place the stones in a container and ask participants to close their eyes, and pick a stone from the container, keeping the stone closed in their hands. Once everyone has a stone, have them close their hands around it and close their eyes. Read out the following quote from Alice Walker:

"It has become a common feeling, I believe, as we have watched our heroes falling over the years, that our own small stone of activism, which might not seem to measure up to the rugged boulders of heroism we have so admired, is a paltry offering toward the building of an edifice of hope. Many who believe this choose to withhold their offerings out of shame. This is the tragedy of our world. For we can do nothing substantial toward changing our course on the planet, a destructive one, without rousing ourselves, individual by individual, and bringing our small, imperfect stones to the pile. Sometimes our stones are, to us, misshapen, odd. Their color seems off. Their singing comical and strange. Presenting them, we perceive our own imperfect nakedness. But also, paradoxically, the wholeness, the rightness, of it. In the collective vulnerability of presence, we learn not to be afraid. …even the smallest stone glistens with tears, yes, but also from the light of being seen, and loved for simply being there." (Alice Walker, Everything We Love Can Be Saved, Introduction, p. xxlll – xxv.)

Tell participants that their own small stone of activism is in their stories, and in their hands. The stone will be a reminder of their contribution - and of the workshop.

Light A candle of Remembrance:Often, when workshops talk particularly of people who have lost their lives die to violence and conflict, acknowledging the people we have lost is an important ritual.

Have a candle ready for each participant. Each person will light their candle and then come forward and light a single, larger candle. The larger candle represents their collective contribution to change. The candle is then passed on to the hosting organisation to keep, representing collective memory, action and acknowledgment.

Other guides/resourceswww.bbc.co.uk/wales/audiovideo/sites/yourvideo/pdf/aguidetodigitalstorytelling-bbc.pdfhttp://www.genderjustice.org.za/component/docman/cat_view/218-tools/52-digital-stories

How do you run a Digital Storytelling Workshop?(this section is taken from Women’sNet’s Manual)

BEFORE THE WORKSHOP1. Selecting Participants:Selection of participants is based on two broad aspects: the participant’s computer skills, and their emotional readiness.

Neither of these aspects are necessarily ‘criteria’ for selection, but they are things you need to take into consideration for your workshop. For instance, if participants don’t have any computer skills, then your workshop might have to be longer, and focus more on developing technical skills. If you are unable to make the workshop longer, then it might be best to rather select participants with a little more computer knowledge.

It is also important to assess whether or not the participants have a support structure when the workshop ends. Sometimes, the workshops focus on stories that are painful to relate, or it might be the first time that the participant has related the story to a group of people. For this reason, it’s important to make sure that participants have some emotional support for the duration of the workshop and beyond.

The following principles are followed when thinking about participants for your workshop:

Transparency: be upfront and clear about your process, your expectations and your approach. Tell potential participants how you plan to use the stories developed.

Responsibility: take responsibility for making sure that you plan for your participant’s needs – this includes their emotional well-being

Respect: respect privacy and confidentiality at all times. Participants must be well informed about the use of their story, and a consent form must be explained properly and signed. Respect also extends to the integrity of the participant’s story – the participant must remain in control of their process, and their storytelling.

Trainers must be qualified, and you must have enough training assistants to help participants when they need it. Generally we do not train more than 13 participants in one workshop, and we will have 3 to 4 trainers/assistants for 13 participants

Here are some pre-requisites for participation that must be made clear: participants must make themselves available for the full duration of the

workshop (days cannot be skipped!) participants must respect the confidentiality and privacy of their fellow

participants participants will tell their own stories and not the stories of other people (in

other words, the ‘I’ must be present in their stories)

participants must be conversant in the language of instruction (or translation must be made available)

If you are asking participants to apply to be part of the workshop, be sure to plan your selection criteria carefully and clearly.

A questionnaire for participants will also help you make sure you plan your workshop well (pitching the technology skills well) and be sure that you have enough support for participants.

Sample Participant questionnaire to help you plan your workshop:

INTERNEWS/FTX DIGITAL STORYTELLING and SOC WORKSHOP13-18 JUNE 2011, Pakistan

Take back the tech to end VAW : A workshop on Digital storytelling and Secure Online Communications

Participants ’ technical assessment

Please answer the questions below so that we make sure that we can support all your technical and training needs. When you have completed it, please email to xxx

Name:

A. Your technical equipment

1) Will you bring a laptop to the workshop? YES/NO 2) Is your laptop a notebook (Windows) or a Mac?

3) What operating system do you run? Is it OS X, Windows XP, Windows Vista etc?

4) Please check that your laptop has either iMovie (if it is a Mac) or MovieMaker if it is a windows operating system. Please note which you have here or if it is another application, what is it?

5) Does your laptop have a sound card or not? YES/NO

6) Do you have any photo editing software for e.g. Photoshop, GIMP, Aperture. Please note what you have here.

7.) Do you have any sound editing software such as Audacity? Please note what you have here.

8) Do you have headphones?

9) Do you have a digital camera that you can bring?

10) Do you have any recording equipment you can bring such as a minidisc recorder or iPod recorder or a microphone? Please note what you have here and if you can bring it.

11) Do you run an antivirus programme? If so, which one? Please note what you use here.

12) When was the last time you scanned your computer for viruses?

13) Do you have a flash drive/USB stick you can bring? YES/NO

14) Does your laptop have (indicate all that apply) a USB port, a CD-ROM, aCD Writer, a DVD Player, a DVD Writer?

15) Is your laptop able to connect to wireless internet?

16) How much storage is available on your laptop?

B. Your familiarity with software programmes and processes.

Can you:

Scan your computer for viruses YES/NOSearch the web for images? YES/NOSearch the web for audio? YES/NO

The DS workshop requires of participants to have at least some technical skills (unless more time is added to the process to do some basic training)

Pre-requisite technology skills are: ability to open, save, close and retrieve documents ability to drag and drop

Other issues to consider when selecting participants are: how ready is the person to tell the story? How old is the participant? (if the participant is under 21, s/he will

not be able to sign a consent form) What are the circumstances or context of the participant – does

she/he have access to a support system? What language does the participant speak? Whose story is being told (this has consequences for permissions)?

All participants must fill out the application form and the trainer must go through each form carefully before the training.

Documentation: Application form for participants, letter to participants (pre-workshop documents)

2. Venue and logistics

a. Venue A safe, residential venue is a better option than a computer lab, since participants might need to work past business hours. A conformable, less formal setup is best. It’s very important to visit the venue before the workshop to check that the venue is suitable.

Venue Prerequisites: Enough Space! Participants will need enough desk space at their

computers to work on and to plan images and story board Ideally, a separate, private room on day 1 for the story circle A separate, small and quiet room away from the computers for

recording sound (day 2 and 3) – this space can even be a good-sized cupboard!

Good security

b. Hard and Software The following are recommendations for digital story telling workshops for 12 participants: a computer per participant, on a desk with enough space for writing and drawing; a separate computer for the trainer to use for demonstrations and for use by trainers for saving data and working on images; A projector attached to the training computer, as well as a set of speakers with good sound; A scanner – ideally, networked or if not networked, then attached to a separate computer or the trainers computer; Each participant must have a set of headphones; A digital camera (or more); A good quality digital audio recorder and a mic if it needs one (you can record sound directly into a computer, but do a quality check!); Software: a media player, audio editing software, imaging editing software and a video editor installed on every computer; Flash drives (at least 2) and an external hard disk (with about 80GB of storage space) for storing source files. It's important to make sure you take all the files with you if you are using rented computers – the information is personal and sensitive and you must take care not to leave files behind where others can see them.

A sample equipment list for rental:

Hardware:- 10 /12 computers (please quote us for 10 and 12 computers) with the following specs:

Intel Pentium 4 or Intel Celeron 1.3GHz processor (or compatible processor with SSE2 support); dual-core processors and those with Hyper-Threading Technology supported; Pentium 4 3GHz processor required for HDV

Microsoft Windows XP Professional, Home Edition, or Media Center Edition with Service Pack 2

512MB of RAM; 1GB required for HDV 4GB of available hard-disk space Color monitor with 16-bit color video card 1,024x768 monitor resolution Microsoft DirectX 9 compatible sound and display driver

DVD-ROM drive (compatible DVD burner required to burn DVDs) USB ports

- 12 sets of headphones (mid range, good quality)- A networked scanner/printer (combo or separate, we must have a scanner and printer)- All computers must have access to good speed Internet (we will also need to plug an additional 5 laptops into the connection – so either a wireless or 5 extra points)Software:We will add (and remove) Adobe photoshop elements, and adobe premier elements*, but we will need the following free software on the computers:

Quicktime media player Drivers for the scanner and printer

(* the software will be un-installed at the end of the workshop) 

Documentation: list of hard and software for the workshop, checklist for equipment (which must be checked on arrival and departure)

3. Roles of Trainers

Ideally, there should be at 4 trainers for 14 participants. Trainers’ roles must be clearly defined – lead trainer, co-trainer, resource people or technology helpers.

It is also recommended that some trainer be assigned the role of observer – so that the process is observed and the mood of the room or of participants is noted. Not all 4 trainers need to have a high level of skill – some will assist participants will using a keyboard, others will assist with scanning, or taking pictures – but it’s important that participants know who to approach for help will different aspects of the training.

It is recommended that at least one trainer be familiar with counseling skills, or that a counselor is asked to be on-hand for assistance with trainers de-briefing as well as support for the participants.

Trainers should meet at the end of every day to assess progress, identify challenges and to make changes to the agenda.

Trainers must observe confidentiality agreements at all times.

Tasks to Assign- Identifying who to approach for helpAssign the following tasks to trainers so that trainees and trainers know who to approach for:

Scanning pictures Taking care of equipment at the end of everyday (ensuring everything is

accounted for) Recording audio

Helping participants with taking photos Printing scripts

AT THE WORKSHOPThe digital story workshop is divided into a number of steps. They are:

Step one: welcome and introductions. This step might start before participants actually meet face to face. A letter of welcome and an explanation of the process will have been sent to participants at least 2 weeks in advance of the workshop

Step two: explaining the processThis introduces participants to the approach and process – including the soft and hardware, groups rules, consent issues, the agenda etc.

Step three: Story Circle and script writingThis is perhaps the most important part of the workshop and requires that facilitators have dual roles – that of giving feedback on scripts and also supporting storytellers through the emotional content of their story. The story circle enables a supportive group dynamic - so it’s important that facilitators set the tone for this activity. If you don’t have a facilitator with some counseling background, we suggest that you seek add such a person to your team.

Step four: story boarding and imagingThis is where participants will prepare a story board and will take pictures and video

Step five: recording voice over and editingRecording each participant speaking their scripts and editing their audio after recording using audio editor (we use Audacity)

Step six: compiling rough draft of movieThis involves putting the audio with the pictures and video, adding transitions and effects and perhaps music too.

Step seven inserting titles, effects and exportingDeciding on a title for the story, and inserting this at the beginning of the movie and adding credits and the last frames. The very last step is exporting the movie.

Step eight: evaluation and closure

It’s very important to leave enough time for the last step – evaluation and closure. This takes at least 3 -4 hours, and will also involve a viewing of the stories.

Workshop Agenda: An Example of a 4 day Agenda:

Digital Stories for Transformation

Trainer: Lebo Marishane,Dates: 25-28th January 2010Participants: 10 from Protégé QV, 5 from partner organisations

AgendaLunch daily from 12h30 to 13h30 (morning tea is at 11am, afternoon tea and 3pm)

Day 1: Introductions to each other and the process9.30 – 10.00 Welcome, Introductions and Housekeeping10.00 – 10.30 Overview of the workshop process and objectives – expectations10.30 – 11.15 Story Viewing: Active listening and watching11.15 – 12.30 Script Writing12.30 – 13.30 Lunch13.30 – 15.30 Story Circle: Script sharing and review process15.30 – 17.00 Finalising Scripts

Closure and commentsOutcome for the day: Finalisation of scripts

Day 2 Audio and Story Board 9.00 – 9.30 Welcome, feedback from previous day 9.30 – 10.00 Overview of the production schedule10.00 – 10.30 Recording your Narration: Tips and instructions10.30 – 11.00 Story Boarding: How to and Template11.00 – 12.30 Final touches to scripts, recording narration and working on Story 12.30 – 13.30 Lunch13.30 – 14.15 Working with Audio – Audacity tutorial14.15 – 16.30 Finalising narration and story boards16.30 – 17.00 Closure and commentsOutcome: all recordings are done, story board is finalised

Day 3 Imaging9.00– 9.30 Welcome, feedback, updating production schedule9.30– 10.30 GIMP tutorial: how to edit your images10.30– 11.30 Individual work on images11.30 – 12.30 Taking pictures, scanning, editing, resizing finalising all images12.30 – 13.30 Lunch13.30– 14.15 Tutorial: Windows Movie Maker (reading the screen, importing files, saving, the timeline, transitions and effects, titles)14.15 – 16.00 Importing and saving your project16.00 – 17.00 Individual work, Closure and commentsOutcome: Story boards done, Rough edits begin, all files imported to premier

Day 4: Putting it together

09.30- 10.00 Welcome10.00 – 12.30 Final Edits: Individual work

12.30 – 13.30 Lunch (exporting your final movie)13.30 – 15.00 Viewing stories and celebration15.00 – 16.30 Evaluations, consent forms, final comments and closure

Outcome: Final movies

Folders and files for use

It is very important to ensure that participants save all the ingredients of the work in one folder. This is because firstly, the software you will be using needs all the files associated with it, to be in one place on the computer. Secondly, you might be using shared computers or public computers and its important to be able to delete all files from these computers before leaving the venue. Thirdly, if you need to do any post production work on the stories, you will need all source files to be available to you in order to edit.

Load the following folders and subfolders on the desktop of the computers:- [Name] Digital story

Rough Images Final images Video Narration Music Project script

The Production Schedule

On the second day of the workshop, or once Story Circle is concluded, we use a production schedule as a training aid. The schedule is posted to a wall where everyone can see it, and helps to track progress. You’ll need to ask participants to update their progress during the workshop by adding a tick once they have completed a task. Remind them that this isn’t a race, but the schedule allows trainers and participants to check progress and offer help where it is needed. Use it to identify people who might need some extra help.

On flip chart paper, create the following table:name script recording storyboard Scanned

imagesResized images

imported Rough edit

Titles Final edit

Add the participant’s names in the column on the left, and ask participants to make a mark in the relevant column once the task has been completed. Every morning, use the schedule to see how everyone is doing and to plan the day’s activities.

Recording Audio Narrations

One everyone is finished with their scripts, they will need to print them out and prepare to record their voices. This recording will form the basis of their stories. We usually set up a trainer in a quiet room, who will wait for participants to come to do their recordings. As people finish their scripts and print them, they are assigned a number – the lowest number records first, once she is done, she will direct the next number to the recording room.

What you will need:- Printed script (1 page, or if more than 1 page, end the page on the end of a

sentence, not mid-sentence)- Digital recorder and a mic- Spare batteries for the recorder- A laptop (optional)- A quiet room, with a comfortable space for 2 people to sit- A note pad and pen- Water and a glass!

Process:1. Set the participant at ease2. Have her read her script as practice3. Giver her feedback (remind her to breathe, tell her that if she makes a

mistake she can start from the beginning of the sentence again)4. Do a test recording – record the first paragraph of her script5. Play it back, give feedback6. Do the first take recording. Try not to do more than 3 takes (if the process is

hard for the participant, pause the recording to let her catch her breath, and start recording again)

7. Make a note of the name of the person and the number associated with the saved recording on the digital recorder and also note which recording what the best one

8. If you can, download the audio onto the laptop you have and give it to the participant on a stick so that she can save it onto her computer in her audio narration folder

Tips: - When you select your venue, take a look at rooms that could be good venues

for recording. - Make sure you are familiar with your equipment – practice and play with

your recorder before the workshop! - No one likes to hear their own recorded voice – reassure participants about

this and remind them that their voice is an important aspect of their stories.

Editing Audio Narrations

You will need to decide if you have time for participants to learn how to edit their own audio. Your decision on whether or not to include this step might also depend on the computer skills of your participants.

What you will need:- Software on each computer (we use a free tool called Audacity)- Audio for demonstration purposes- Audio recordings saved on computers in the designated folders- Speakers for demonstration purposes

Process:1. Demonstrate the software: in particular: importing audio tracks, making a

new track, copying and pasting from one track to another, using the amplify effect

2. Participants then will work on their own audio (make sure that you have saved a copy of each participants audio file for yourself, just in case!)

3. Be available to assist each participant

Images: Story boarding and Image Editing

Story Boards

The first step to undertake once recordings are done and edited, and they are saved in the participant’s digital story folder, is to finalise a Story board.

A story board is a plan for how to use images and the sequence of imaging for the digital story. It is very important that participant complete this step before taking pictures of searching for pictures.

The process:1. Each participant must create a story board in word or open office2. They will create a document that contains a table, with 2 columns3. The first column will contain the script, and the second a description of the

image that will be displayed when these words are spoken4. Review each person’s story board before they tick this task as complete on

the production schedule – ensure they have a realistic plan and that they have enough images for their work

5. Each participant should print their story board and use this as a guide for scanning pictures, taking pictures and searching for images

6. All images scanned or taken or found on the internet should be saved in the rough images folder

Here is an example of section of a storyboard:

Script Task list To DoThere is a picture of my mother that I always keep with me

Pic of my mom Scan pic of my mom

The edges of the picture are worn from my gaze. She is no longer in my life,

zoom into the picture slow

but I remember birthday parties and the happiness of having her close by, the love of a mother

Picture of me at my 3rd birthday

Scan my birthday pic

I experienced my mother’s love Picture of red heart Search & download pic of heart

For only 11 years Number 11 appears in the heart

Editing Images

We use a free image editor called GIMP, to manipulate, crop and resize images. GIMP can be downloaded free from the internet.

When participants get to this step, they should have all the images taken and saved in their ‘rough images’ folder. They will edit the pictures and use the ‘save as’ function to save the final image in the ‘final images’ folder. They should refer to their story board for any changes, cropping or effects they should undertake.

Copyright issues: Using music and pictures

Participants must be made aware that pictures on the internet, and music are more than likely copyrighted materials and cannot be used without permission. Trainers should have a collection of royalty free music and free-for-use-images, and participants should be made aware of creative commons searching. As far as possible, participants should be encouraged to take pictures, draw pictures and use their own materials in their stories. The general rule is: use your own words, music and pictures!

Music:Free or Royalty-free music can be downloaded on: http://jamendo.com and other websites (remember to include credits to the artist and a link to ‘jamendo.com’ in your final credits!). Encourage participants to sing or record sound effects at the workshop (like running water, door slamming etc) Your don’t need to be a good

singer for the music to be meaningful – for instance, singing a protest song, or a childhood lullaby or a traditional song will be meaningful to the viewer and will make a powerful statement in the movie. Participants can even form a temporary choir!

What to Avoid: ● Commercial music, that is to say music taken from a published CD / DVD / vinyl record or cassette tape.● Photos taken by anyone other than you, your family or friends.● Photos or clips of other people's children (under 18 years of age).● Photos or images of artistic works.● Scans or images from newspaper or magazine articles, CD or book covers, works of art etc.● Grabs or clips of any DVD or video other than your own family.● Grabs or images from websites.● Posters, calendars, brochures or maps - even if they feature in the background of a photo.● Company brands and logos such as Nike, Adidas, Coca Cola etc.● Quotes or lines from poems, songs, books, magazines, pamphlets, websites etc.● Letters written by people other than you or your own family because the person who wrote the letter owns the copyright, and not the recipient.What you can use:● Non-commercial music that has been composed and performed by you or a member of your family or a friend.● Traditional music where the composer is anonymous (as long as it's not taken from a commercial CD). For example, you or a member of your family could sing Auld Lang Syne.● Music composed by someone who has been dead for more than 70 years (as long as it's not taken from a commercial CD). For example you or a member of your family could play Chopin's The Minute Waltz on the piano.● Nursery Rhymes as they are mostly anonymous.● Quotes or lines from books, magazines, poems, letters if the author has been dead for more than 70 years. For example you could use a quote from a Shakespeare sonnet or Jane Austen's Pride and Prejudice as long as it is spoken by you.

Images:You can use google images to search for copy-right free images by clicking on “advance search” and then focusing your search.

You can also use Flickr search by searching first for “creative commons” and then, on the next screen, typing in some key words for your images.

It is best though to have participants take their own pictures, informed by their story-boards. This makes the end product truly unique and individual, and also

captures the particular context of the geographical area where the story took place, rather than where public images are common.

Some links to Free images: Openphoto.net Morguefile.com Commons.wikimendia.org

INFORMED CONSENTAs an ethical practitioner it is VERY important that you take this issue extremely seriously. It is particularly important now with the number of people with access to the internet and social media sites.

All participants must sign consent forms for their stories to be used. Consent forms must be explicit, and must be thoroughly explained, as far as possible, in the first language of the participants.

It's recommended that you give participants the consent form to consider at the beginning of the workshop, and then collect them on the last day of the workshop. You might also want to consider levels of consent (for instance, allowing participants to use a pseudonym, allowing participants to select whether or not they give consent for the stories to be put online)

It is important that participants honestly, fully understand what the consequences of, for example, putting their story online might be. Amnesty are currently running a system of renewed consent – where they follow up with ex-participants periodically and check that they are happy to continue to allow their stories to be used. Where possible, this is a good way of keeping pace with social and individual changes. It should NOT however be promised to participants if you cannot guarantee this!Participants should be given the opportunity to discuss, together, the possible outcomes of each of their stories ‘going public’.

Saving source Files

All source files must be saved and stored, and if you are using rented or public computers, they must be deleted from the computers. Source files must be saved on a hard drive (which must then be backed-up to a server)

Participants must receive a copy of their own story before they leave the workshop, on CD or on their own flash drive. Complete a checklist to ensure that all the source files have been backed up and saved on your hard drive.

Workshop leaders should ensure that they have all files from participants backed up – including audio and stills files.

Workshop Evaluation

For the most part, this is done using a form asking participants questions about their experience of the workshop. Other techniques for evaluating workshops can be used.

A ritual of healing at the end of the workshop helps end on a positive note. Contact with participants should be maintained, story tellers should receive feedback on how their stories are being used, and what kind of feedback viewers are giving.

Trainers should meet after the workshop to conduct an after action review – answering the questions: what did we intend to achieve? what worked? What didn’t work? What would we do differently?

Consider follow-up evaluation a few months after the workshop. Creating a list-serve if your participants have email addresses, can help create a community of support for post-workshop communications.

It is also essential to evaluate the impact of the digital stories on people who watch them, or on the policies or issues you aim to address through the stories. Consult the Gender Evaluation Methodology (GEM- http://www.apcwomen.org/gem/) for ideas and support on evaluating both the process and outcomes of your project.

POST PRODUCTION TASKSPost-production is when staff work on finalising the stories, reproducing them on DVD and/or putting them online. The work involved in post-production is dependent on the objectives of your project. If you are undertaking advocacy work, you will need to choose the best distribution strategy for your target, and also have an evaluation plan to assess your impact. If your movies are going to be for trainers only, then your distribution strategy will be different.

Post-production might involve:

fixing any sound problems, any transition problems etc inserting titles and end credits and checking consent forms for any requests for

changes or additions ensure credits include music or creative commons attributions for images used blurring faces on pictures that feature children or people who’s consent was not

given designing and installing final frames with funder’s logos, contextual information

and your contact details making a master of the final DVD for distribution uploading your movies to a video sharing website save all source files in a secure location designing the cover of the DVD, sleeve and any additional items

designing the menu for the DVD for final navigation

Post-production is often lots of work, don't underestimate how much needs to be done in this process!

Working on Stories from the Hard Drive

When you open the Windows Movie Maker Project from the hard drive after the workshop is finished, you will find that the pictures and audio in the time line are no longer present – instead you now have a red cross in their place.

The same will happen with other movie editing software. The reason for this is that the source files that inform the content of the project have been moved. All you need to do is locate the pictures and audio for Windows movie maker. Right click on the image in the time line and select “locate clip”, then browse for the missing file. You only need to do this once, as long as all the pictures are in the same folder.

Annex: Doboj, Digital Storytelling Training of Trainers’ Workshop (rough workshop agenda)June 5th -9th 2012

DAY ONE (Tuesday)

11 – 11.30Introductions and Ice-breakers

Introduce yourself: Name, place, organisation and Tell one truth and one lie about yourself – the person next to you has to guess which is the truth and which is the lie.

11.30 – 12Introduction to Digital Stories – screening of a couple – talk about the components of a Digital Story (sound, narration, images, music) and the devices you can use (metaphor, etc)

Introduction to the project – what we will be using the stories for.

12.00 – 13.00Story and image – association – exercise (15 mins)Write down the first word that comes to mind when you see these images.

2. Words-Responses: Jot down the first word that comes to mind in response to the words given by the workshop leader. Share these aloud at the end of the series.

3. Words-Metaphors: The words will be repeated, this time, come up with a metaphor or simile for each word. Share these aloud at the end of the series.

Discussion: What do you notice about the way you respond to images and to words? What do you notice about the group's response? Did anything change when you had to write a metaphor? When you heard everyone else's? What can we observe about the act of listening?

How might images and soundtrack pull their weight and not act as appendages; in other words, why can’t this story be a radio story?

Consider what kinds of images will help tell the story: literal or metaphorical, concrete or abstract, long-shot and close-up, colour or not, and how the images will move from one to the next, considering how an image is “a peculiar and paradoxical creature both concrete and abstract,”

Freewriting exercise - I remember… (15 mins)

One line story (10 mins)Your script (individual writing time) structure (10 mins)Beginning-Middle-End (10 mins)Write the three-sentence version of narrative:Sentence 1- Beginning:Sentence 2- Middle:Sentence 3-End:

- How do your sentences work individually and with one another to create a flow?

- How does meaning build because you are reading it aloud?

- How will you use your voice?- How do timbre, speed and modulation affect the meaning?

13.00-14.00 LUNCH

14.00 – 15.00Individual writing (30 mins)

Write a one-hundred to two-hundred word draft of a narrative. As eventually you will be reading this narrative aloud in a voiceover, it is important to consider the following questions:

- Where is the dramatic moment—the actual moment in time when something momentous occurs?

- What does this story reveal about the topic?- Why is it necessary to tell this story?- Do you open by grabbing the reader’s interest in hearing this story?- Do you end in a way that suits your objective?

Practice different ways of reading your script.

7 Elements1. point of view2. dramatic question3. emotional content4. the gift of your voice5. power of soundtrack6. economy7. pacing(30 mins)

15.00-15.30 TEA/COFFEE BREAK

15.30- 16.30Story circle- introduce the story circleEach participant to tell/read their story.Listening partner to then report on- What is the story about?- What was the most memorable moment? Why?- What confuses you or do you need to hear more about for the story to

articulate clearly its message?- Does the arc of the story work well: does the beginning start just where it

needs to; does the middle create vivid details; the ending feel like the end?

16.30-17.00Wrap up and evaluation.

17.00 – 18.00 Individual Story Work

DAY TWO (Wednesday)Mapping Exercises

9.00-9.30 Mindmap 30 mins(20m to draw, 10 min to present – feedback in pairs)

9.30-10.10 Position/story map - add 5 senses 40 mins20 to draw20 to talk through and explain drawing (2 grps)

10.10-11.00 Story Cards 50 minsBeats of story. Main headlines of movements.

11.00-11.30 BREAK 30 mins

11.30-12.00 Viewing and discussing story cards (plenary) 30 mins

12.00-13.00 Writing and Editing 1 hour

13.00-14.00 LUNCH 1 hour

14.00-15.30 Story Circle(plenary)s 1.5 hr

15.30-16.00 BREAK 30 mins

16.00- 16.20 Audacity, Recording, Playing with voice 20 minsCopyright and searching for images and sound

16.20-16.50 Revising/finalising scripts 30 mins

16.50 -17.30 RECORDING/EVALUATION 40 mins

By end day 2 will have finished and recorded all scripts and started thinking about the images

Thursday – DAY THREE

9.00-9.30 Settle down, organise timeline and folder structures and file audio

9.30 – 10.00 Pictionary

10.00-10.30 GIMP/Photoshop

Scanning, photographing, importing, editingCopyright – crediting cc pics.Opening photoshopTool bars photoshop toolsthe right sizing for imagessaving images to folder on desktop, naming imagesbrief on the scanner/cameras

10.30-11.00 BREAK

11.00-11.30 Storyboard

11.30-13.00 Finalising audio and collecting images

13.00-14.00 LUNCH

14.00-14.30 Windows Movie MakerLinked not embeddedCombining images with audio, Exporting/Rendering

14.30-16.45 Individual work on stories – finalising images, starting video project

16.45-17.00 Evaluation

DAY FOUR (Friday)Video Editing – introduction toEnds in film screening.Evaluation

DAY FIVE (Saturday)Facilitation skills/tips/ overall project discussionDistributionEthicsRisksEvaluation

Framing of Questions for SDC/MDPi/OneWorldsee/IDS project

Questions should encourage participants to1. Look back and reflect on past experience of participation2. Relate to current circumstances surrounding participation, and3. Have a forward-looking/visioning element in which participants describe the

future democracy they would like to see.

Three potential areas of focus:1. Citizen as agent of change:Tell us a story of change where you felt you made a difference?What do you feel you can do to change things in your community/immediate environment?In which ways do you think you can change things in your community?

2. Focus on citizen-state (municipality) relationship:Tell us a story of what the government means to youWhen did you feel that the government (or citizens) fulfilled its responsibilities/failed to fulfill its responsibilities?What did you do in response?

3.Focus on meaning of citizenshipTell us a story of what citizenship means to youWhen did you feel you were a citizen or not a citizen?Describe a story that articulates/captures how you feel as a citizen

all these condensed into 2 questions:

Tell us a story of change when you felt you made a difference in your community

Tell a story about when you felt that the municipal government fulfilled its responsibilities (or failed to do so), and what did you do in response?

Annex: Pre-workshop letter to participants

To: Digital Story Telling Workshop Participant

Dear Participant

Thank you for agreeing to be part of the Digital Stories workshop. This letter will give you some of the information you need to get the most out of the workshop!

When?The workshop will take place from the -- to the --h of ---. On the day of your arrival we will have an evening event to introduce ourselves and the process. For the rest of the workshop will start at 09h00 and end our work at 17h00 . You must be present for all the days of the workshop.

Trainers?Your trainers for this event are:, -- and -- from Women’sNet; assisted by -- and--. translation is provided by --.

Logistics?We will be in touch with you shortly to give you more information on the venue, flights, visas, food, accommodation and other arrangements.

What you need to bring:You will need to bring: your story scriptphotographs of yourself or any images, letters, documents you feel will illustrate your story your digital camera (if you have one) and your laptop (if you have one)your energy and enthusiasm!

Your Script:Your story script will become the narration or ‘voice-over’ for your story. You will read your story script which will be recorded and will form the narration of your digital story. It’s a very important part of your digital story. We will be contacting you in the next week or so with feedback on your scripts. You can then make any changes necessary and you will need to bring your final draft with you to the workshop.

We know that you will be talking about private and sometimes painful parts of your life and we will ensure you are respected and supported throughout the workshop. We also ask of all participants to be respectful of diversity and difference and contribute to a safe and supportive space for our workshop.

We ask that for our ‘story circle’, where we share our stories, that all participants and trainers observe a confidentiality agreement.

Your PhotographsThe pictures you use for your Digital Story can be anything you feel will illustrate the words of your script. You can bring drawings- or do some drawing at the workshop. You can bring documents like a birth certificate, or papers (we will scan these). You can also bring photos of your home or workplace, or photos from the past that you might have in an album at home that we can scan.

If you are in doubt, bring it – you can’t go home and fetch it once you are in at the workshop! If you need to, please take photos before the workshop and bring the film – we will develop your pictures to CD so that you can use them in your story.

MusicWe may not use copy-righted music in our stories. If you know of local artists who would be willing to let you use their music, please do approach them and bring the CD with you!

How will my digital story be used?We will ask you for your permission to use your stories for advocacy and to illustrate the real application of ICTs in activism, networking and creating content that reflects people's real lives.

We will only use your story if you give us permission to do so.

We are looking forward to meeting – and working with all of you! Please don’t hesitate to contact us for assistance or if you have any questions.

Annex: Computer & Equipment checklist

Please check equipment!

All computers have photoshop/GIMP loaded All computers have Adobe Premier loaded or windows movie maker is working (test it!)All computers have a folder on the desktop titled “Digital Story” with the following subfolders: Scanned Photos, Sized Photos, Projects, Soundtrack, Video and VoiceOver All computers have attached, a set of headphones, they have been tested and are workingScanner – networked or installed on a training machineLCD Projector – training machine Internet Access for searching for images External hard drive – at least 80gigDigital cameras, cables and chargersAudio recording equipment (audio recorder, mic, cables)

Training Materials Checklist:Flipchart paperMarkersArt materials for illustrations (crayons, pencils etc)CD- R for each participant for saving stories and picturesPens and paper (soft cover nature study books are best)Training materials and hand-outs

Annex: Conditions of Use form

Story teller’s Name: _______________________________________

Or pseudonym: ___________________________________________

Postal Address:____________________________________________

________________________________________________________

________________________________________________________

Phone numbers:___________________________________________

My digital story, titled_________________________ developed at a workshop facilitated by Women’sNet can be used in the following ways (please make a tick next to the option that you choose) :

Question1 – Can we use your story for non-profit awareness raising and advocacy, showing it as you made it, distributing it on a DVD?

YES ____ No ____

Question 2: Can we add your story to a video sharing website (like youtube.com)?

Yes____ No ___

I Would like you to change the following parts of my story before releasing it:

Signed by Story teller: ____________________ Date: __________________

Annex: Trainers Matrix

Digital Story Workshop:

Trainers notes

(lunch is at 13.00 everyday, tea breaks at 10.30am and at 3.30pm)

Pre-workshop Event: Screening of digital stories 7.00pm7.00 – 8.30 Story Viewing: visualizing your story

Introduction to The WorkshopIntroduction to processViewing: 2 storiesDiscussion: use of pictures and graphics, voice, use of images, props etc, music

LCD projectorDVD of stories

Outcome: Familiarity with digital story concept

Day one Session What is

covered/ methodology

Materials/ tools

9.00 – 10.00 (1 hr) minutes welcome, Introductions and Housekeeping

Questions: name, organisation, and what is the best place in the world for you.Expectations: write on cards – 2 expectations, go through them and group them.Introduction to the project andHousekeepingQuestions (all)

10.00 – 10.30 (1 hour)Overview of the 7 Elements of digital story telling

Going over story telling elements:

1 point of view

2 dramatic question

3 emotional content

4 the gift of your

Pages 1 – 14 of CDS ManualHand Outs for participants

voice5 power of

soundtrack

6 economy7 pacing

10.30 – 13.00 Story Circle: Script sharing and review process

Facilitators:Each participant will read their scripts to the group (those who do not have scripts will pose a story idea) Facilitators (gently, respectfully) will direct the writer to tools or narrative ideas to strengthen the script or story. Facilitators can refer to the story telling elements. We will also point out where imagery or illustrations can be useful.

Printed Story elementsscripts a facilitator to ensure that stories are printed.

2.00 – 2.30 Introduction to Story Boards:Finalising Scripts

faciliators:Introduce the template for story boarding – visualizing your story

Templates for story boarding (one copy each)

2.30 – 3.00 Who speaks for Who?

Exercise on Representivity lead by -- (15 minutes)Discussion:Key questions: Can all stories be told by the people who experience them? What

Story board

about stories that we find hard to listen to? What is our own agenda? Is there such a thing as impartiality or objectivity?

3.00 –4.30 Closure and comments

Individual work on story boards, Closure

template handout

Outcome: Finalising scripts and story boards

Day two - Tuesday Session What is covered/ methodology Materials/

tools9.00 – 9.15 Welcome, Overview of the production schedule

does welcome back, go around, one word about how you feel

Notes: individual attention for scripts – if people need to get some feedback

AgendaProduction schedule on wall

9.15 – 10:30story boarding

11.00 – 12.30Photoshop tutorial (computer work)

Facilitators: Overview of software we will be using

for the stories Going over the folder and subfolders for

saving images and projects Overview of using images and

illustrations, introduction to the scanner.Hands-on training to using Gimpfacilitator to demonstrate:Opening Gimp tool bars gimp tools the right sizing for images saving images to folder on desktop, naming images brief on the scanner

Materials Photoshop elements (on desktop)Cheat SheetScanner and Acer attached to scannerDigital cameraScanner brief

11 – 15.00 Individual scripts and preparation work – voice-over recordings

will be on the ready in the recording room to record people’s voice-overs. Others will spend time working on their scripts and story-boards, finding images and canning images.Other trainers to with help people scan their images.

Sound recorders to be in the recording room. Print-out of scriptsScanner

2.00 – 3.30 Windows moviemaker/Mac iMovie #1 to Cheat sheet

Premier tutorial (computer work)

demonstrate:using folders and saving images properlyopening the programmethe tool bars (overview of what you see)importing folders (sound track and images)Saving Projecttime line

putting images on the time lineadding transitionsadding voiceoveradding sound trackplaying moviesaving movie

hand out

3.30 – 5.00 Importing Images to Premier, importing narration

Finalising Files, images, sized images etc. Importing final images folder to premier

Premier work,

Outcome: all recordings done, images resized

Day three : Wednesday Session What is covered/ methodology Materials/

tools9.00 – 10.30 Individual work: finalizing images

Trainers to rove the room to help with computer issues, using the software and finding images to illustrate stories

11.00– 13.00 Rough Edit

Import Images folder to moviemaker or imovie – start rough edit

13.00 - Free

Outcome : Rough edit begin, all files imported to premier

Day Four: Thursday Session What is covered/ methodology Materials/

tools9.00 – 10.00 Finalize rough edit

All roving to assist

10.00 - Moviemaker/iMovie #2

12.00 Premier tutorial 2:

transitions, sound tracks and titles

12.00 – 4.30 Begin Final Edits:

Individual work

Outcome: Final Edits complete

Day Five: Friday

9.00 – 11.0011.00 – 12.0012.00 – 1.00

– lunch

1-3 wrap up

Final edit CompleteExporting your movieLunchStory screening and celebration, final wrap-up (Evaluation)Discussion and filling out the evaluation form (Jan to explain the form and to lead discussion)Complete consent forms (to explain process)Evaluation

LCD ProjectorScannerDigital camerasEvaluation formConsent forms

Outcome: Final stories, consent forms, evaluation

Audio and Audacity Cheat SheetThis tool is to be used as a supplement to the video tutorials available online as well as the written tutorials available via Audacity (see website):

How to Import Audio (outside music, sound effects, etc.)1. Click Project2. Import Audio…3. Find your music files (should be MP3)4. Select music file5. Music file should now be on a separate track within your voice

document

How to increase/decrease volume on a particular part1. Ensure that Stop is pressed on your controls2. HIGHLIGHT the part that you would like to change3. Go to Effects…4. Choose Amplify5. Move the “slide rule” nub in either direction (right higher, left lower)6. Click OK. If OK is not visible, click allow clipping box.

How to add Effects to a particular part1. Ensure that Stop is pressed on your controls2. HIGHLIGHT the part that you would like to change3. Go to Effects…4. Choose whatever Effect you would like (try them, they’re fun!!!)5. Move the “slide rule” nub as necessary in either direction (right

higher, left lower)6. Click OK. Sample.

To Export your audio as MP3 (Windows):Note: YOU MUST HAVE SAVED THE LAME encoding tool from the OLLI website first. Look under Resource (Web). Save this to your DESKPTOP.

1. When your recording is complete, go to File 2. Choose, Export as MP33. Name it and choose location to save (Remember this part! You will

need it later!4. Find LAME encoder when it asks you to (on your desktop)

5. New window will pop up asking you to fill in song info (skip this part by clicking OK or Cancel).

6. MP3 of your audio is now saved ready to be imported into One True Media.

To Export your audio as MP3/M4A (Mac Users)

1. When your recording is complete, go to File, Export as Wav. 2. Save your file somewhere you can find it (preferable with your

iTunes music). 3. Open up iTunes.  If your new recording is not in there, go to File and

Import to Library and import your recording. 4. It will now be in there as a WAV file...now you need to convert it to

either an MP3 or an M4A (in this case its OK). Both are OK.5. You convert it by right-clicking (or control clicking) on the song and

choosing convert to M4A or MP3... 6. Once you've done that, you are ready to import from One True

Media...7. Remember where you have saved this for when you are importing

into OTM.

Adding Silence to your tracksSome of you may want to have silence in the beginning or in the middle of your audio…this is how you do it.1. Move your cursor line where you would like to have your silence

placed2. Click on Generate menu button3. Choose Silence…4. Enter a number of length of silence5. Click Generate Silence.6. Test.

Sound Effects1. Go to Google (from your Internet Browser)2. Type www.findsounds.com3. Uncheck the boxes for AIFF and AU4. Enter in a key word for your sound in the search box (eg, dog

barking, train, phone ring, etc.). Hit Enter/Return5. A list will appear…only choose ones that end with WAV or MPC,

never for FLAC 6. Click on link to PLAY. 7. When finished playing, hit Back button on your Browser to return to

link…8. Right Click (control click for Mac) on link and choose “Save Link (or

Target) As…”9. The format should be a Wav or MP3 format.10.Save it and name it in a place you will be able to find it.11.Import into Audacity as you did other audio (see first page, first

item).

Annex: Completed Story Checklist

Story teller Name and Pseudonym

Story Title

Duration

Music?

Last credits?

Back-up (name&path)

Deleted on local machine?

Consent to share?

Digital Story Telling Workshop : Reflection and Evaluation

Date:

Name (optional)

Thank you for participating in the __________________________Digital Story Telling Workshop.We would appreciate your feedback on our workshop and your experience.

Did the workshop meet your expectations? (What did you expect to accomplish in the workshop and how well were your expectations met?)

Which new skills (ICT and others) did you acquire and which of the technology and multimedia available were particularly useful?

How did your participation in the workshop and sharing your own story contribute to your healing process?

What aspects of this workshop benefited you the most? Please be specific.

Please make some comments on the facilitation of the workshop (were the facilitators inclusive, prepared and knowledgeable?)

Please make comments about the way the workshop was organised (i.e. clarity of presentation, workshop material, number of participants, size of room etc.):

Please share any additional comments or suggestions you have:Thank you for your feedback and your cooperation!