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Digital

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

How We Work Day 2: The Art of Storytelling Day 5: Movie Making


a. Objectives/Outcomes of the Day a. Objectives/Outcomes of the Day
Principles of DST b. Schedule Day 2 b. Schedule Day 5
c. PowerPoint presentation: Elements of c. PowerPoint presentation:
The Impact Digital Storytelling Making a Movie
d. PowerPoint presentation: The Art of d. Tips for reflections and wrap-up
Workshop Basics Storytelling e. Supplemental form:
a. Overall DST objectives e. Tools: Production schedule, Storyboard Workshop Evaluation
b. DST workshop expectations Template, Share Plan
c. Elements of a DST workshop f. Supplemental form: Consent Form Hosting a DST Film Screening
d. 5-Day workshop overview g. Homework assignment: Refine script,
rehearse voice-over; storyboard DST Workshop Follow-up
About
Women
Win
4 About Women Win
Our Mission:
To equip adolescent girls
to exercise their rights
through sport

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

Digital stories are rich,


layered accounts of
human experiences.

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.

1. Point of View 7. Pacing


What is the main point of the story and what is The rhythm of the story and how slowly or
the perspective of the author? quickly it progresses.

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

young women. The basic premise of our defini-


Building Young tion of leadership is that leadership is a set of
skills, behaviours and attitudes that can be prepare
Womens Leadership learned, practiced, and refined through experi-
ence, mentorship and education. Women Win A girl discovers and develops her skills and talents,
Through Sport defines leadership as follows: and becomes aware of her leadership potential. She
accumulates knowledge and information.
Alongside our mission to equip girls and young She finds the confidence to set challenging goals for
women to exercise their rights through sport, Leadership is the ability of a girl or young herself and strives to live by her values.
Women Win believes sport serves as an effec- woman to effectively utilize available This includes being proud of where she came from as
tive platform to discover and develop individu- resources, exercise her rights,
well as where she's going.
al leadership. and ultimately drive change.

Sport cultivates the leadership skills inherent in


girls, creates an enabling environment in which Building Leadership: A Theory of Change:1 practice
girls practise leadership skills and allows them Given our definition of leadership, this section
to actively use their knowledge and skills to is meant to articulate how to go about it. It lays A girl connects and interacts with others and learns
drive change in their own lives and their out a specific theory of change to leadership, how to team up. Through communication and
communities. and identifies possible pathways. Women Win interaction she learns how to negotiate and exercise
has identified three stages of leadership devel- her rights and solve conflicts. It's in this stage that
Defining Leadership opment in adolescent girls and her leadership potential and abilities expand and
Over time, Women Win has developed a frame- young women: Prepare, Practice, and
strengthen.
work for leadership, which serves as a founda- Play. They are sequential but fluid. Girls may
tion for all our programmes and activities. Our move from one stage to the next,
definition is based on research, theory and only to return to a previous stage when they
experiences around leadership, sports and the encounter a new situation. play
skills and development of adolescent girls and
A girl exercises her leadership skills. She influences
and motivates others, drives change and becomes an
agent of change over her own life as well as the lives
of people around her.

1 Adapted from Linden and Fertman (1998) and


Girls Scouts leadership documents.
10 About Digital Storytelling

Identifying Leadership Competencies3 engagement can meet the simultaneous needs of


Leadership manifests itself in a variety of ways and offering girls new venues in which to learn leader-
is driven and supported by many competencies. ship skills, and begin breaking down restrictive
Women Win has defined four core competencies gender norms within their families and society at
of leadership as a way of making the concept of large (Multiplier effect).4
improvement more tangible. By categorizing skills
and competencies, girls are able to recognize, 3 Adapted from Care Leadership Document
celebrate, enhance and encourage their leadership 4 Brady, Martha. 2005. Creating safe spaces and building social assets prepare practice play
development. for young women in the developing world: A new role for sports,
Womens Studies Quarterly 33(1/2): 35-49.
WW Activities WW Activities WW Activities
In each leadership development stage and Mentorship Mentorship Develop /imple-
throughout all Women Win activities, girls acquire Workshop Workshop ment community
leadership skills, attitudes and knowledge, and Goal Programme Mentoring change project
develop an array of competencies. Women Win is DST Sessions Work through
convinced that its culturally relevant sport Graduation peer mentoring
programmes, as well as the mentorship groups
programme, digital story telling and community Conduct Digital
Storytelling

Identify strengths and celebrate successes


Take risks and step up to challenges
I AM SELF-CONFIDENT Fail forward
Accept and value diversity

See a better future


I HAVE VISION Set and adapt goals
Inspire and influence others
outcomes
Communicate effectively 1. Young leader fellows gain personal leadership skills and
I USE VOICE Be assertive feel better and inspired to act as leaders
Be critical and self aware
2. Young leader fellows have increased leadership in their
Make decisions and solve problems in a critical, empathetic and collaborative way organisations
I TAKE ACTION Cope with emotions and stress 3. Young leader fellows have increased knowledge of
Seek creative and innovative approaches
opportunities within their fields
11 About Digital Storytelling

Connecting Digital how much experience and learning they


have in common with others, advance
Storytelling and solidarity and understanding, and It becomes her task
ultimately become visible change-agents in
Leadership Through their communities.
and responsibility
Sport to share those skills
By telling her story, a girl puts herself in a
position of leadership. This leadership can
with members of
Women Win believes that Digital Storytell- occur at different levels -- in her own life, her organisation
ing has a unique ability to cultivate leader- giving back to the community or in making
ship potential. During the process, young an international impact for other
women are encouraged to strengthen girls.When a girl tells her story, she work they do using sport as an effective
muscles in all six competencies of leader- convinces parents and teachers to allow strategy for equipping young women with
ship. Through an intense 5-day DST girls to play sport; she convinces leaders of the ability to exercise their rights.
workshop, Women Win equips girls and the critical impact her organisation creates
young women with technical skills, knowl- in the community; and she supports the The Digital Storytelling workshop and
edge and opportunities to share their global case for the power of sport to build methodology is part of a larger Building
personal stories of transformation through leadership and ultimately transform lives. Leadership Through Sport suite of tools
sport. These may include the challenges that Women Win has developed. It is an
they faced, how they overcame them, and Once a young woman learns the skills independent training that is annually
the impact sport has had in their lives. needed to share her story through DST, it coupled with Women Wins Mentorship
becomes her task and responsibility to program, which aims to accelerate girls
The DST methodology is grounded in the share those skills with members of her leadership through connecting them with
first-person perspective: I and me. It is organisation, capturing more stories and influential international female leaders.
this location of the I that forms the multiplying the effect of the tool. Born
foundation of the methodology - locating from this approach, our ultimate goal with
the self in meaningful work to advance DST is to strengthen our partners capaci-
social change. In telling/sharing their ties to communicate the impact of the
stories, participants create a sense of
ownership for their experiences, discover
12 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

Script writing and storyboarding Creating a compelling story script


2 Audience Audience identification and message development
Ownership and consent Ownership, copyright, credit and consent

Uses of sound and silence


3 Role of sound
Recording, importing and editing sound

What makes a good visual or image


4 Role of visuals
Editing images

Tying it all together to create a film


5 Movie making
Reflections on DST process
Running a
workshop
19 Running a Workshop top tip
Consider local partners and contacts that might add
rich texture to the workshop. For example, radio
hosts, filmmakers, journalists, ICT women would
be great guest speakers. Other partners might be
able to donate equipment, venue space and/or food.

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

B. Choosing a Venue C. Equipment and


Choosing an appropriate venue is critical Additionally, there should be a space at or Supplies
to the success of the workshop and helps near the venue where any participant who
establish security, trust and confidence needs some private time can go and not Given the tech-heavy nature of DST, it is
among the participants. The venue should be disturbed. This can be a separate roo important to carefully consider which
be safe and comfortable, preferably with equipment is both accessible and neces-
natural light and air. It should also be To maintain an up-beat energy throughout sary to host a successful workshop. This
accessible to persons with disabilities. the workshop, it is ideal to have a venue may help dictate the number of partici-
Keep in mind that too much light will inter- that includes an outdoor space for energis- pants a workshop is capable of hosting.
fere with participants ability to see the ers, play or discussion-related tutorials. As Lack of sufficient equipment could lead to preparing computers
projected screen, which is critical for venues are considered, it is good to keep in interruptions that cause major delays or, and laptops
presentations, tutorials and screenings. mind an appropriate location to host a worst case, could stop the workshop
Ideally the venue will be open early and final DST Film Screening. This may be the altogether. To be DST workshop ready,
available after hours so that participants same venue as the workshop or, depend- laptops or computers should
are not constrained by time. ing on the organisation of the event, it may In addition to the technological equipment have the following prior to
be more appropriate to host the screening required, there is a list of supplies participants arrival at the workshop:
There should be enough space for each in an alternate location or room. Women Win encourages facilitators to
participant to work comfortably and a have on-hand to support the creative Soundcard
separate space (it can be small) for audio process. This includes items such as a Mouse/keyboard
recording that is relatively soundproof. It whiteboard or flipchart, as well as markers, Minimum 10 GB of space
should provide the capacity to support the crayons and paper. Up-to-date anti-virus programme
technological needs of the workshop, such Audacity installed
as access to a reliable Internet connection Below is a list of considerations for both
Gimp installed
and sufficient power outlets. top tip the venue and equipment. Minimum
Windows MovieMaker or
A car works as a good requirements are those that Women Win
iMovie installed
sound booth if needed. feel are absolutely necessary to the
Sit inside, close the doors success of a DST workshop. The Ideal
and windows, and record. Arrangement reflects the perfect situa-
tion.
TYPE OF EQUIPMENT MINIMUM REQUIREMENTS IDEAL ARRANGEMENT
21 Room with sufficient individual workspace Table/desk and chair for each participant

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

Clear wall for DST example screening Pull-down screen

A couple computers that can be shared; time is booked in increments


according to the number of participants and pace of workshop
Technical Equipment Computers/laptops must have a soundcard, attached
mouse, minimum 10GB of space Individual laptop or computer for each participant
Computers/Laptops Ensure antivirus programme is up-to-date
Laptops should have Audacity and Gimp downloaded
Windows Moviemaker or iMovie should be installed

A computer dedicated for facilitator presentations, tutorials and


Facilitator laptop DST viewing (participants can gather around)
A facilitator-only laptop dedicated for presentations, tutorials and DST viewing

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

Facilitator laptop with soundcard/built-in speakers


External speakers *keep in mind how this may affect the quality of a DST Film Screening
External speakers

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

Access to a printer Laser printer with white paper


Supporting Technical Equipment
Access to a printer/scanner to import visuals Portable scanner to import visuals

Supplies Flip-chart or chalkboard (with chalk and eraser) Flip-chart and white board (with appropriate markers)

Markers, crayons, pens, coloured pencils


Markers, crayons, pens and/or pencils Paint and paint brushes
White paper Clay or play-doh
Scissors, tape, glue White and coloured paper
Scissors, tape, glue, blue tak

Adequate number of supplemental forms


Consent forms
Forms Evaluations
Adequate number of supplemental forms
Certificates
22 Running a Workshop
OTHER CONSIDERATIONS facilitator and other involved persons DST requires no computer experience,
D. Facilitator Differences and Vulnerability: During a know exactly what to do and who to these levels will affect the pace of the
DST workshop participants open up and contact without hesitation should a situa- workshop. A mix of digital literacy levels
Readiness share very private stories that evoke tion arise. We recommend having a GBV provides the opportunity for peer-to-peer
strong emotions and put people in a or trauma councellor who is informed learning where those with more technical
A core responsibility of the facilitators is vulnerable position. It is important to about the workshop and the DST process experience confidence are able to help
to ensure that the workshop is an engag- carefully consider each participants level and who is on call to provide support to those without.
ing, safe and supportive space so partici- of emotional maturity and resilience in any participant who needs it.
pants can create their stories openly and sharing, reacting and responding to the Language Literacy: Literacy levels (spoken,
with confidence. There should always be DST process. A facilitator needs to consid- Schedule: DST workshop schedule can written and reading) will impact the
two facilitators, one lead facilitator and er that participants might be facing become quite intense with long hours. workshop. It is important to pay attention
the other to support. Below we have discrimination and/or peer pressure Facilitators must be willing to work to the learning paradigms that present
highlighted the three necessary sets of because of their ethnic/tribal/caste outside normal hours to support the during the course of a workshop. For
skills that facilitators need to run a background, disabilities or sexual orienta- participants in the DST process as needed. example, a young woman with a minimal
successful workshop. tion. This means that they could have literacy level may not be comfortable
great difficulty opening up and feeling writing and reading her script and may
In addition to these skills, sensitivity confident about sharing their stories for prefer a process of word lists and memori-
towards differences between participants fear of receiving negative feedback. When E. Participant zation. In addition, some participants may
and trainers/facilitators and creating a working with young participants, especial- be more comfortable working in English
space of learning and mutual respect is ly under the age of 25, a facilitator needs Readiness and others in their mother tongues. This
critical. Facilitators should be aware of to keep in mind that vulnerability and peer dynamic should be considered when
these differences, including unspoken pressure are even more prominent during Age: Women Win targets young women assessing the groups overall composition.
dynamics, and turn them into learning that age. Thus, facilitators should be between the ages of 16- and 30-years-old
opportunities rather than barriers. The careful to hold the storytelling space with for the DST workshops we host. In
differences in experiences, culture, race care and awareness of potential non-resil- conducting your own workshop, it is criti-
and age of facilitators and participants ience when dealing with emotionally cal to gain consent from parents/guard-
top tip:
should be carefully considered. Facilitat- charged stories that may not have been ians through a signed consent form for
facilitating style
ing a space where these differences can told before. anyone participating who is legally a
be up-fronted and discussed is essential to minor.
A successful
holding the sharingfacilitator will
space of the External Support: Organizations embark-
workshop. It islanguage,
use plain important that facilitators
repeat ing on DST workshops should be prepared Digital Literacy: Digital literacy and
be flexible
often, and capable of tuning
demonstrate the into the to assist girls during and after the comfort levels using technology must be
evolving space ofand
technology the workshop.
keep an This workshop, should issues arise that require considered. There may be different levels
means being able to quickly
open space for questions adapt, adjust professional counsel or outside support. of familiarity (or not) with computers
and re-route according to the needs of the Best practice would be for organizations depending on the educational
to be asked.
participants. to establish a protocol of first-response backgrounds of the young women and
and follow-up prior to a workshop so the access at their organisations. Although
23 Running a Workshop

F. Facilitator's Success 1. Facilitation 2. Computer and Digital


EMOTIONAL
RESILIENCE OF Profile A Digital Storytelling facilitator should: Technology
FACILITATOR
Facilitation of a DST workshop Be well prepared Having experience using other audio,
Storytelling can be profoundly per- requires skills and competencies Have adequate and thorough knowl- image and video editing software can be
sonal and bring up emotions that edge of what she/he is going to teach helpful to DST facilitators. However, it is
in a variety of areas, including
are difficult to deal with, for both Be able to manage time effectively not a sufficient replacement to being able
the storyteller and the audience. basic facilitation, computer and Inspire creativity and participation to navigate and teach in the software the
Telling personal stories can some- digital technologies and story Be confident participants will be using, in that case
times trigger strong emotions, and design and delivery. Below is Be responsible for her/his actions as GIMP, Audacity and Movie Maker/iMovie.
can be difficult for girls and young a checklist of skills that are well as for the group and the process
women who have experienced Demonstrate resiliency, flexibility and File organisation
trauma or violence. necessary for successful delivery adaptability How to use the internet and download
of a DST workshop and can Be respectful and encouraging; give applications
As a facilitator, you must be pre- be used to identify qualified constructive feedback which affirms How to download sound and images
pared to deal with this situation facilitators. the wisdom of the group Audio editing skills in Audacity:
should it arise, not only for the Be attentive and able to understand - Highlighting Audio
well-being of the participants, but underlying group dynamics - Zoom
also for your own well-being. Be objective and able to maintain - Effects/Amplify
boundaries and personal integrity - Time Shift Tool
Facilitators should take the time Be able to report back on the process - Scissors
before, during and after the and identify successes, challenges - Copy/Paste
workshop to reflect on their and potential ways to improve - Panning/Volume
emotional reactions, their capacity - Envelope
to deal with challenging situations - Adding a new layer
and their overall resiliency. - Add silence
- Fade effects
Remember that good facilitation
and your ability to facilitate a
successful workshop is dependent
on your well-being, so take care of
yourself and take time for
reflection at the end of each day.
24

Image skills in GIMP: 3. Story Design and Delivery


- Image properties: Find size, resolution
- Image scale: Resize a. Writing Experience: Experience in writing and
- Crop with Rectangle Select (Fixed Size) editing your own story is essential for a thorough
- Zoom In/Out understanding of the skills necessary to help others Tips for Story Circle:
- Rotate in writing their scripts and following the story arc. - Make sure that the only people in the room
- Blur with Ellipse/Filter/Gaussian Blur We recommend that facilitators take some time to during Story Circle are the participants and
- Color/Color Balance research story arc, listen to story samples and facilitators who will share their stories
- Export review the DST Powerpoint slides on story arcs. -Start with a relaxation/trust exercise that will
Video skills in Windows Moviemaker: The more that facilitators write, edit and tell their enable participants feel more comfortable
- Adding, dragging, copying, deleting, saving own stories, the more they will become experts to sharing the deeply emotional stories that
- Changing time duration of frame help others. Thus, creating your own Digital Story they are about to tell
- Visual effects prior to facilitating a workshop is essential. In - Create a circle of chairs, separate from the
- Adding subtitles or text to frames addition Digital Storytelling facilitators should be workspace you are using, where everyone
- Lining up audio with visuals familiar and confident with the following aspects of will sit during the story circle
- What can, cannot be altered a story: - Give every participant sufficient time to read
In-depth knowledge of Creative Commons licencing their entire story, and make sure they are
Creating scenes not interruped by other participants talking,
Designing story arcs phones ringing, external noise etc.
Developing characters - Look participants in the eye as you speak to
Various plot types them about their stories
Making transitions - If there is a heavily emotional story that is
Identifying and using hooks told, take a brief break to stretch and make
some body movements
- Share your own story, and make sure any
b. Story Circle: The story circle is the most important other facilitators share, and take comments
part of the process of creating personal stories. It about your story from the participants
is important that the facilitator create a safe space - Encourage peer to peer feedback
for the story circle, in which every participant feels
that they are listened to and can contribute. It is
also important that any criticism or suggestions
made during the story cicle are constructive and
that they respect the creativity and personal choic-
es made by the story writer.
25 Running a Workshop

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

top tip: survey with ease


You can use free web applications such as Google Forms or
SurveyMonkey.com to conduct and track surveys. Its easy to
set-up, and creates a direct link that can be accessed from an
e-mail for easy response and easy review.
DST_2

Dear Participants,

Hello and welcome to the Digital Storytelling workshop!


My name is <insert name> and I work with <insert organisation>.
I will be facilitating the workshop and am excited to meet you in a couple
weeks for some fun with cameras, movies and your stories.

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!

The workshop will take place at <insert location address>.


It officially begins at <insert time and date>. You will be given additional
instruction upon your arrival. Please be on time.

If you have any questions or concerns, please do not hesitate to contact


me!

Many thanks and see you soon!

My kindest regards,
<insert facilitator name>
DST_3

Hello DST Participants,

We are eager to meet you next week at our digital storytelling


workshop.

According to my records we still need your responses to our survey


regarding technical experience, tools and expectations. Please take
the time to do this as soon as possible.
It is extremely important to help us ensure we have all the equipment
needed for your participation.

You will find the survey, both online and in an attachment,


below in the original email. Please contact me if you have any
problems or questions. I am happy to help you complete the survey if
this is needed.

Thank you for your cooperation on this. And be sure you are practic-
ing with your cameras and thinking about your stories!

See you soon.

Kindly,
<insert facilitator name>
DST_4
29 Digital Storytelling Workshop 1/3

Participant Preparation What is Digital Storytelling? Why Are We Doing This?


Digital Storytelling (DST) is a workshop-based methodolo-
gy that focuses on the everyday persons ability to share Women Win believes that DST has a unique ability to culti-
Welcome to the Digital Storytelling Workshop! We are aspects of their life story. Over the course of a 5-day inten- vate leadership potential. Through the process, young
eager to meet you and look forward to an incredible learn- sive workshop, DST participants are given the opportunity women are encouraged to strengthen muscles in all six
ing experience together. It is very important to begin and skill necessary to produce a 2-4 minute video story. competencies of leadership. Once you learn the skills
thinking about your story. Please read through the follow- The focus of the workshop is on the skill-building process, needed to share your story through DST it becomes your
ing pages carefully. not the end product. The beauty in the process is that it is responsibility to share those skills with your organisation,
grounded in storytellers' ultimate control over the medium capturing more stories and multiplying the effect of the
The information will help prepare you for the workshop. It words, images and audio so stories are told by those tool. The ultimate goal with DST is to strengthen our
covers ideas related to your story: the script, images and who lived the experience. The methodology was devel- partners capacities to build girls' leadership and commu
photography, music and items to bring with you. oped in the mid 1990s in San Francisco, U.S.A., by the
If you have any questions or concerns, feel free to contact Center for Digital Storytelling. Since that time, it has been nicate the impact of the work they do locally and globally.
us. We are here to help! Please also e-mail your draft adopted by many organizations and individuals looking to Women Win believes the stories of how sport affects your
scripts (read on!) to <insert name>. give voice to the people and stories not often heard. life are best told by you. We believe in the power of your
story and your remarkable ability to share and create that
Contact: The workshop does not require previous experience as the story in a way no one else can. By raising your voice and
process introduces and familiarizes storytellers with the telling your story, you have the chance to say what you
<insert name and e-mail address> use of software application programmes that are free or want to say, exactly how you want to say it.
already packaged with a computer/laptop in order to put
<insert phone number> together a digital story.

You will be
creating your
own short film
about you!
DST_4
30 Digital Storytelling Workshop 2/3

Laptops What to Bring:


It is best to bring your own laptop to the workshop, if you 1. Your story script of about 250 words
have one or your organisation has one then will lend. If you 2. Photographs of yourself or any images (including
dont have access to one, please dont worry. We will make drawings), letters, documents you feel will illustrate your
sure everyone has access to one at the workshop. story. If you intend to use photographs that are of friends Despite there being a wide
or family members, it is best to get their permission first. variety of software suitable
IMPORTANT: If you are bringing your own laptop or a laptop 3. You are encouraged to have at least 25 digital images. Do for accomplishing tasks in
belonging to your organisation, there are three computer not reduce the resolution until you have to use them DST, Women Win chose
programmes, or software applications, that are helpful to during the workshop. But, do bring your photographs, this software suite because
download before you come to the workshop. If you have any images, drawings etc. Audacity, GIMP and Movie-
problems, do not worry. We can always help when you 4. Meaningful items from home Maker are free, easily
arrive. 5. Your digital camera (if you have one) accessible and simple for
6. Your laptop (if you have access to one) elementary users to learn.
7. our earphones (if you have a pair)
8. A USB memory drive (if you have one)
Software 9. Your energy and enthusiasm!
MovieMaker or iMovie: Most laptops come with a movie-
making programme already installed under Applications. PCs What to Avoid:
will have MovieMaker. Macs will have iMovie. Please confirm Commercial music, that is to say music taken from a Recommended websites for copyright-free
that your laptop has the appropriate program installed. published CD / DVD / vinyl record or cassette tape. images are:
Photos taken by anyone other than you, your family or http://www.flickr.com/creativecommons/
Audacity: http://audacity.sourceforge.net/ friends. http://www.sxc.hu/
This is a sound editing software application. Please choose Photos or clips of other people's children (under 18 years of http://www.freeimages.co.uk/
the most appropriate and latest version depending on age). http://www.public-domain-photos.com/
whether you use a PC or a Mac and your operating system. If Company brands and logos such as Nike, Adidas, Coca Cola http://public-photo.net/
in doubt, wait until you get to the workshop. etc. http://www.reusableart.com
published CD / DVD / vinyl record or cassette tape. http://www.freefoto.com/index.jsp
Gimp: http://www.gimp.org/downloads/ Photos taken by anyone other than you, your family or
This is an image editing software application. If you do not friends. Recommended websites for copyright-free
have one already, please download the most recent version. Photos or clips of other people's children (under 18 years of music:
age). http://www.jamendo.com/en/
Company brands and logos such as Nike, Adidas, Coca Cola http://www.royaltyfreemusic.com/
etc. free-music-resources.html
http://www.openmusicarchive.org
DST_4
31 Digital Storytelling Workshop 3/3
Your Story + Script your work, your sport? Hopefully you have the opportunity to practice with a
The stories we create will be 2-4 minutes in length. They What drives you? digital camera. Be sure to take photographs or videos of
are typically told in the first person voice, using I and What are your visions/goals/challenges? anything that is important to or your story.
me. Your script will become the narration or voice- If you are a talented artist, consider creating a piece for
over for your story. This means that you will read and Often times, DST participants tell very emotional stories of your film. You can bring it or photograph it. You can also
record the story you have written using a microphone or their lives. Its part of the power of this process. Please bring other drawings or choose to do some at the
digital audio recorder during the workshop. It should be write a story that you are comfortable sharing with workshop. You can bring documents, like a birth certifi-
around 250 words. Stories must be written in <insert others as that is a mandate of this workshop. cate, or other papers that are important to your story and
language and mention if the stories will be subtitled or we could photograph them. You can bring photos of your
not>. Some Story Writing Tips: home or workplace, or photos from the past that you
Have a hook -- Start in the action might have in an album.
Prior to arrival in <insert name>, you must have a first Plan your story starting with the takeaway message
draft script of your story written. The following prompts Develop characters with detail, yourself included IMPORTANT: If you are in doubt, bring it you cant go
are meant to guide but not limit your story: Try to stay in a specific (or a few specific) moments in home and fetch it once you are at the workshop! We will
What is the meaning of sport in your life? How has it time. 3 minutes is too short to tell a whole life story discuss the use of these photographs and videos so dont
impacted your leadership? from birth to mid life. worry. Just keep taking pictures or shooting video!
What do you hope to accomplish with this story? What Have some stakes
is your objective/goal for telling it? Less is more: be concise Other Images
Who is your target audience (other leaders, young Think about building to an emotional high-point at Sometimes you may want to use images that symbolize
girls, local, national, global, decision makers?) about 70% of the way through your story something or to create a mood of sorts (such as nature,
What kind of story is this - Is this a comedy? A sad Avoid ranting or preaching etc.). If you want to use images that are drawn or illus-
story? A drama? A tale of adventure? Try to have a conclusion of sorts at the end, avoid trated by others, it is best that you use copyright-free
What was the moment when you first realized you open, meandering endings. images.
were a leader? What triggered your experience? How
did others react to you? Where to Send Draft Scripts Sounds: Music and Effects
What was the most pivotal, extreme, empowering, If youd like feedback on your script or story ideas prior to Stories will be enhanced with music and sound effects.
disempowering experience of your life and how did it the workshop, please send your draft by Insert Date, to You may bring music from home perhaps music that
shape your view? <insert name and e-mail address>. reflects a theme in your story, or music that emphasizes
Why are you involved in the work that you do? How your cultural or traditional background. Maybe you sing
did this journey start? How has this journey been for Your Images and Photographs or play an instrument. Record it on your camera or a
you? Any particular fears, disappointments, losses, Start taking pictures and videos now that will help tell digital recorder. We will not be using any commercial
gains, achievements? your story! Remember once you arrive, you may not be music that is rights-managed, so please do not bring
Any particular key turning point? able to return home to capture those scenes. Begin to professional music that you do not have the rights to use.
What stood in your way? think about which images - photographs and video - that
What is your most poignant victory on the sports might help tell your story along with the words you write.
field or in life? The pictures you use for your digital story can be
What other parts of your life have changed through anything you feel will illustrate the words of your script.
DST_5
32Participant Needs Assessment

Section 1. About You documents? YES / NO


Participant Skills Self 1.1. What is your first name?
1.2. What is your surname? d. Do you know how to organize files in folders and
Assessment 1.3. What is your date of birth? sub-folders on a computer? YES / NO
1.4. What is your organisation?
Please complete the following survey. Your e. Do you know how the location of files relates to video/
answers will help us to better understand Section 2. Your personal objectives of this workshop movie making creation? YES/ NO.
2.1. Why are you interested in participating in this digital
how best to prepare the digital storytelling
storytelling workshop? What would you like to gain? f. Have you ever taught others about how to use a
workshop, both for your technical training 2.2. What story you would want to share and why? computer? YES/NO
as well as which equipment we will need to 2.3. What is the key message of your story?
arrange. Remember, no previous experience 2.4. What is the audience of your story? g. Have you used the Internet to look for information?
YES / NO - If NO please continue with Sub-section 4.2.
is required nor do you need to have your own
Section 3. Leadership AUDIO.
laptops, etc. Completing this questionnaire 3.1. Do you consider yourself as a leader? Why?
will also give you a chance to reflect on the 3.2. According to you, what are the main qualities h. Have you ever searched the Internet for images? YES/
skills that you will have the chance to develop and characteristics of a good leader? NO
during the DST workshop and that will need 3.3. What do you think are your current strengths
as a leader? i. Have you ever searched the Internet for audio clips or
as a successful future DST facilitator! 3.4. Which leadership qualities do you see as a need music? YES / NO
to improve?
4.2. AUDIO
Section 4. Digital Storytelling Information and
Communication Technology (ICT) a. Have you ever recorded your voice or the voice of
someone else using a microphone or a digital voice/audio
4.1. GENERAL COMPUTER SKILLS recorder before? YES/NO

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 ____________

c. Have you used a computer for typing word


DST_5
33 Participant Needs Assessment

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.

i. Highlighting Audio vii. Panning/Volume


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.
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.

ii. Zoom viii. Envelope


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.
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.

iii. Effects/Amplify ix. Adding a new layer


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.
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.

iv. Time Shift Tool x. Adding silence


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.
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.
DST_5
34 Participant Needs Assessment

ii. Image scale: resizing an image


1) I dont know what this is.
xi. Fade effects 2) I know what this is but I have never used it before.
1) I dont know what this is. 3) Ive used it before but Im not very comfortable using it.
2) I know what this is but I have never used it before. 4) Im very comfortable using this tool.
3) Ive used it before but Im not very comfortable using it.
4) Im very comfortable using this tool iii. Cropping with Rectangle Select (Fixed Size)
1) I dont know what this is.
4.3. IMAGES 2) I know what this is but I have never used it before.
a. Have you ever taken any digital photographs? YES/NO 3) Ive used it before but Im not very comfortable using it.
4) Im very comfortable using this tool.
b. Have you ever edited digital photographs or images before? YES/NO - If
NO please continue with Sub-section 4.4. MOVIE MAKING. iv. Zooming in/out
1) I dont know what this is.
c. What software(s) have you used? O GIMP 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.
d. Have you ever taught others how to edit photographs or images? YES/NO - 4) Im very comfortable using this tool.
If NO please continue with item f below.
v. Rotating an image
e. What software(s) have you used to teach others? O GIMP O Other 1) I dont know what this is.
_____________ 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.
f. Have you ever used GIMP to edit photographs or images before? If NO 4) Im very comfortable using this tool.
please continue with Sub-section
vi. Blurring with Ellipse/Filter/Gaussian Blur
g. What is your experience with the following GIMP features? Please choose 1) I dont know what this is.
(1-4). 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.
i. Identifying image size and resolution 4) Im very comfortable using this tool.
1) I dont know what this is.
2) I know what this is but I have never used it before. vii. Color/Color Balance
3) Ive used it before but Im not very comfortable using it. 1) I dont know what this is.
4) Im very comfortable using this tool. 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.
4) Im very comfortable using this tool.
DST_5
35 Participant Needs Assessment

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.

4.5. CREATIVE COMMONS


a. I know what Creative Commons licensing is. YES/NO
DST_5
Participant Needs Assessment
36

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

Main Activities homework assignment: day 1


Icebreaker
Presentation: Introduction to DST All participants must arrive to the next morning with a draft script,
Presentation: Review of the weeks prepared to read to the group.
agenda
Getting to Know Each Other The script should be as in final form as possible, approximately 250 words.
Presentation: Elements of a Digital Story
Presentation: Art of Storytelling Participants should prepare any comments, questions or specific
View DST examples points for feedback request.
39 Running a Workshop

Schedule Day 1

TIME ITEM SUPPORTING MATERIAL


Workshop Day 1
Welcome and Background
Introduction
9:0010:00 Icebreaker
PPT Welcome to Digital Storytelling
What is DST and why are we doing it?

Logistics
10:0010:30 Broad overview of week, logistics, other announcements

10:3010:45 MORNING COFFEE/TEA BREAK

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

13:0014:00 LUNCH BREAK

14:0014:30 Expectations Check & Rules of Participation Group activity: Group creates list

Introduction to Digital Stories PPT Elements of a Digital Story and


What is a digital story? The Art of Storytelling
14:3016:30 Elements of a digital story
Art of storytelling DST video samples and links
View DST examples, discuss Handout: Sample Scripts

Wrap up: Day 1


Review Programme for Day 2
16:3017:00 Tasks for the day: Drafting of script
Communication & Distribution Introduction to Share Plan
40 Running a Workshop

DST SAMPLE VIDEOS


STORYTELLER TITLE LINK THEME KEY ELEMENTS
Mix of visual elements: still, drawings, video
How are war images drawn, what does this
https://www.takebackthetech. Pride in self;
Workshop Day 1 Anonymous A Stonecutter in Kinkala
net/ds/stonecutter-kinkala armed conflict
add?
Still proud of something from her past
Stonecutter circle of story empowerment

Linking past to present


https://www.takebackthetech. GBV, self-empow- Her story via her friends story
Cindy Liou Untitled
net/ds/cindy-liou erment Use of black screen a pause, a change
Circular image story

Story style and entry point


http://womenwin.org/stories/
Sport and self- Use of music, visuals
DST Examples Nicole Matuksa Becoming Nicole digital-storytelling-project/
watch-videos/becoming-nicole
acceptance

Alignment of script
Voice clarity

Showing examples of digital stories is


http://womenwin.org/stories/ Emotional highpoint?
an inspiring way to help participants Cynthia Awuor Tea Bag digital-storytelling-project/
Leadership and
Use of visuals, mix
understand the process and spark their Coredo watch-videos/tea-bag
sport
metaphor
creativity. It adds dimension to their
knowledge of what works and what http://womenwin.org/stories/ Message of story, tone
Sport overcom-
No Girl, No Boy, I am a digital-storytelling-project/ Story script, tight
doesnt work from a viewer perspective. Amrita Bisht Sportsperson watch-videos/no-girl-no-boy-i-
ing societal
Use of visuals, mix
norms
am-a-sportsperson Use of voice
It also helps them begin to visualise their http://womenwin.org/stories/
own stories. After showing each example, digital-storytelling-project/ Story style, full circle
Sport is an Amazing Sport as an
ask the young women for their own Pallavi Gaikwad World
watch-videos/sport-is-an-
enabler
Story script, rich details
reflections and thoughts, being sure to amazing-world Why do we smile at the end?

highlight the key elements of each story.


http://womenwin.org/stories/ Self-acceptance, Opening hook
Anne Akoth Slum Girl digital-storytelling-project/ identity and Personalisation of sport
watch-videos/slum-girl empowerment Change in tone, pace
WORKSHOP
DAY

the art of
storytelling
42 Running a Workshop

Objectives/ facilitator tips: day 2


Outcomes of the Day Create a space for story circle
that is safe from outside
Workshop Day 2 The Art of Storytelling: interruption
Thematic Objectives Outcomes
Able to create a compelling story script Gain valuable insight to refine Encourage participants to
Able to define target audience groups and finalise script actively listen to one another
and develop appropriate purpose, Development of a storyboard based during the story circle
message and objective for each group on script and time
Able to organise advanced file saving Solid understanding to ethical guide- Emphasize the importance of the
system lines, copyright, consent and ownership storyboard, it is easily forgotten

The Art of Practical Objectives


Able to write and edit own script
Ability to think critically through
developing and delivering messages
to defined audience groups
but critical for time efficiency

Consent Form: Be sure that every

Storytelling Able to create a complete storyboard


based on the script
Comprehension of ethical guidelines,
Tasks
Finalise script
participant understands the
consent form before they sign it

copyright, Creative Commons license Finalise storyboard


and consent Begin to select visuals
Able to identify key considerations in Complete Share Plan
relation to intended audiences for digital
stories and how to share or distribute
these digital stories homework assignment: day 2
Main Activities All participants must arrive to the next morning with a final script,
Story circle ready to record, a final storyboard and a complete share plan.
Presentation: Storyboard
Establish standard system to organise Participants should practice reading their script to explore pace,
and save files voice fluctuation and emotion.
Group activity: Sharing with Our
Audiences Participants should prepare any comments, questions or specific
Presentation: Ownership and Consent points for feedback request.
43 Running a Workshop

Schedule Day 2
TIME ITEMS SUPPORTING MATERIALS

Workshop Day 2 9:009:15


Welcome!
Programme for the Day

9:1511:15 Story Circle Group activity: Read scripts, provide feedback

11:1511:45 MORNING COFFEE/TEA BREAK

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

Production Schedule Handout: Production Schedule


12:1513:00 File Organisation and Saving Day 2 PPT: File Organisation

13:0014:00 LUNCH BREAK

Group activity: split to smaller groups, each group creates a


Audience and Share Plan mega-message, identifies target audience groups, direct
14:0014:45 Why and how do we define our audiences messages to each group
How does our message and tools change to reflect audiences
Hand-out: Share Plan

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

Individual Work Offer feedback on scripts, storyboards, share plans, consent


Finalise scripts forms as needed
15:3016:45 Begin and finalise storyboards
Finalise Share Plans
Begin to select images Collect share plans, consent forms

Wrap up: Day 2


16:4517:00 Production schedule
44 Running a Workshop / File Organisation

Name_DST_Date
Workshop Day 2

Documents Audio Images Video

Script Voiceover only * Draft Images Draft Video

File Organisation Supplemental Info Music/Effects Final Images Final Video

The DST workshop is a creative process


that requires edits, revisions, reworks, Share Plan Final Audio*
media collection, etc. It is imperative that
participants are instructed and continually
reminded to frequently save their work!
We suggest creating a standardised folder-
file structure that each participant repli-
cates on their desktop to organise and The voice over file should be a
save all relevant files, such as the one final edited version of the script
below. read aloud only, without any
music in the background. These
two folders, Voiceover only and
Final Audio, will each have two
files in them: one as the saved
.aup file, the other as the
exported .wav file.
45 Running a Workshop / Supplemental Forms

DST_6 Production Schedule DST_7 Storyboard Template DST_8 Share Plan Template DST_9 Consent to Conditions of Use

A production schedule is used to keep a


daily pulse on exactly where each partici-
pant is in the film development process.
Its critical to stay on track and make sure
participants are accountable for complet-
ing assignments on time.
Create a LARGE chart like the one below top tip: group activity for audience
and put it on a wall to track progress. After Its a great idea to divide the group into smaller groups and task
the completion of each step, participants each group with developing a mega-message, i.e. Girls must be
should receive approval from a facilitator allowed to play sport. Then have them identify five different
and check the box. audience groups, a targeted message, objective and best tool
for reaching each audience.
DST_6
Production Schedule
AUDIO: AUDIO: IMAGES: FILM: SUPP. SHARE
PARTICIPANT: SCRIPT STORYBOARD EXPORT
RECORDED EDITED EDITED APPROVED INFO PLAN
DST_7
Storyboard Template

Image: Image: Image: Image:


Time Start: Time Start: Time Start: Time Start:
Time End: Time End: Time End: Time End:
Story script: Story script: Story script: Story script:

Image: Image: Image: Image:


Time Start: Time Start: Time Start: Time Start:
Time End: Time End: Time End: Time End:
Story script: Story script: Story script: Story script:
DST_8
Share Plan Template

Storyteller Name: Length of Story:

Working Film Title:


Film Message:
Mission for film:

AUDIENCE METHOD/TOOLS TIMELINE OBJECTIVE RESULT


DST_9
Consent to Conditions of Use / part 1

consent to conditions of use

part 1: clarification
of terms and attribution
(story title):

Ownership of Digital Story


1. Storytellers have the right to freedom of was produced by:
expression
in representing themselves in their stories.
2. Storytellers can and are encouraged to during a Digital Storytelling workshop in (insert location)
determine where, why, and how their
stories will be distributed.
3. Storytellers have the right to determine from (dates)
whether or not their names are attached to
their stories and whether images of
themselves / others are to be blurred to facilitated by (insert organisation)
protect privacy.

Storytellers Name or Pseudonym:


IMPORTANT: All Women Win digital stories
have a creative commons licence that al-
lows for modifications, sharing and further Home organisation:
distribution as long as the owner of the digital
story, the workshop organiser, and other con-
sented parties are duly acknowledged. Postal Address:

Phone number(s):

E-mail address:
DST_9
Consent to Conditions of Use / part 2

consent to conditions of use

part 2: clarification of use and distribution

usage

I give consent for my digital story, titled Signed by Storyteller:


and developed at a Digital Storytelling workshop facilitated by [organisation name]

on the (date) Date:

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

3. I do not give consent for my story to be used in any way.


WORKSHOP
DAY

creating sound
52 Running a Workshop

facilitator tips: day 3


Objectives/ Make sure recording space is
sound-proof. Background noise
Outcomes of the Day cannot be fixed.

Workshop Day 3 Creating Sound: Often having participants hold


Thematic Objectives Outcomes the microphone or recording
Able to record, import and edit sound Gain valuable insight to refine and final- device helps lift their voices
ise script during recording
Practical Objectives Development of a storyboard based on
Able to record own voice based on a script and time Participants tend to keep music
finalised script Solid understanding to ethical guide- levels too loud, which drowns
Able to record ambient noise and sound lines, copyright, consent and ownership out their scripts. Consider a peer

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?

Tutorial The Role of Sound


Why sound, types and use Day 3 PPT
9:3010:00 How to record
Downloading sound effects and music

Individual Work
Record story and download file
10:0011:30 Update storyboards
Search and select sound, music

10:3010:45 WORKING MORNING COFFEE/TEA BREAK

Tutorial Sound Editing (Audacity)


Day 3 PPT
How to import
11:3012:30 Getting familiar with Audacity
Demonstrate Audacity
Hand-out: Audacity Cheat Sheet
Editing techniques

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

13:0014:00 LUNCH BREAK

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

16:3017:00 Wrap up: Day 3 Wrap up: Day 3


WORKSHOP
DAY

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

Visuals from personal collections as well as


internet sources
Able to resize images and adjust resolu-
Tasks
Select and import all images
Have the young women keep a
running list of the photographers
tion Resize, edit and finalise all images for any images they download
Able to edit images in Gimp, performing Create an end credit image from the Internet
such functions as crop, blur and shadow
Able to create an end credit image

top tip: Main Activities


missing images Presentation: Selecting and Editing
Images
When participants are missing Select and import all images to Gimp homework assignment: day 4
photos to tell their story, Women Resize, adjust resolution and edit images
Win strongly encourages partici- to final form All participants must arrive to next morning with all images
pants to self-create images Create end-credit image (this may be selected, imported, resized and edited in final form.
drawing, painting, sculpting, etc. one common image, shared with the
rather than downloading images group) The total number of images should correspond to the participants
from the Internet. Have supplies storyboards and duration of scripts.
on-hand to enable the creativity!
The end-screen credit image may be an image shared by the group.
56 Running a Workshop

Schedule Day 4
TIME ITEMS SUPPORTING MATERIAL
Workshop Day 4 9:009:30 Welcome and Production Schedule Where are we?

Tutorial Image Selection & Resolution Day 4 PPT


What makes an image good?
What is resolution, size and why does it matter?
9:3011:00 Links for free images (see preparation document)
Image Editing Demonstrate Gimp
Gimp: resizing, cropping, blurring Hand-out: Gimp cheat sheet

11:0011:15 MORNING COFFEE/TEA BREAK

11:1513:00 Individual Work


Search, select, import images
Edit images

Credit Screen
Group work
12:0013:00 Why we use it
Distribute common shared end credit frame
How to make one

13:0014:00 LUNCH BREAK

Individual Work
14:0016:45 Finish selecting, editing images

16:4517:00 Wrap up: Day 4


WORKSHOP
DAY

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!

Movie frame transitions and animations


Able to build title and rolling end-credit
screens
Collect movie and supporting folder files
Consider creating a closing credit
screen in advance that you

Making! Able to save, export a final film


Draft personal bio and film teaser
Gain insight into the learnings of the DST
circulate to all participants

Export files as .MP4, MovieMaker


tool and methodology through self- automatically adjusts specs for
reflection and group discussion optimal settings, which should be
1920x1080p.
Main Activities
Presentation: Movie Making!
Craft a final film
Save and export films and files
Group activity: Reflection
59 Running a Workshop

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

10:1510:30 WORKING MORNING COFFEE/TEA BREAK

10:4513:00 Individual Work Putting it together, finalise films

13:0014:00 LUNCH BREAK

14:0015:00 Individual Work Putting it together, finalise films

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

Group activity: Discussion


Workshop Reflections and Feedback
Identifying DST skills to share with others and how best to share these
Conducting another DST workshop (workshop process)
How did it feel to share your story? How do you want to share your story?
16:0017:00 What are your plans? Identification of audiences
Hand-out: Evaluation forms
Workshop Evaluation
Collect Share Plans, Evaluation Forms, Consent
Evaluation Forms
Forms (give copy to participants) if have not
Consent Forms
already done
60 Running a Workshop

D. Tips for Reflections Examples of questions to guide the


discussion are below.
Workshop Day 5 and Wrap-Up
What story did you choose to tell and
why do think you chose this one?
One powerful aspect of a DST How did that story change throughout
the workshop process? Why?
workshop is the ability to self-
What do you think you were attempting
reflect on the process and to highlight in your life? Why was this
gather key learnings from the important to you?
group. Prior to an evaluation of How did you feel to hear/see your story
reflected back to you? What did you
the workshop but following an
learn about yourself from this moment
informal or formal film screening, in time?
conduct a discussion session to Did this story affect future events in
bring the workshop full circle. your life? How?
Which other stories caught your atten-
tion and why?
What did you learn from the
collection of stories in this workshop?
What were the strengths of the DST
process for you? Weaknesses?
The ability to How could the DST process benefit
self-reflect on others?

the process
61 Running a Workshop / Supplemental Form

DST_10 Workshop Evaluation


DST_10
Workshop Evaluation 1/2

Workshop Evaluation workshop content workshop design

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

TRAINING LOCATION: 1 2 3 4 N/A


The workshop activities stimulated my learning
This workshop lived up to my expectations:
1 2 3 4 N/A
DATE: / /
....... ....... ....... 1 2 3 4 N/A

Optional The activities in this workshop gave me sufficient


PARTICIPANT NAME: The content is relevant to my organisation practice and feedback
1 2 3 4 N/A 1 2 3 4 N/A
ORGANISATION:

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

workshop results general

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

a) structure, time and schedule?


I learned new information and/or skills during this
workshop
1 2 3 4 N/A

I will be able to use what I learned in this workshop


1 2 3 4 N/A

The workshop was a good way for me to learn


about empowering girls through sports 3. Do you have an increased ability to tell your story?
Yes/No. Please explain.
1 2 3 4 N/A
b) content and topics covered?
64 Running a Workshop

Below is an outline and timeline to assist in One to Two Weeks Prior


Hosting a DST Film the planning process. Confirm all arrangements for venue and
equipment reservations
Screening Four Weeks Prior Test equipment to ensure all is working
Set the date properly
Hosting a formal DST film Reserve a venue Create and print a programme for the
screening with a public audience Make sure the venue can be sufficiently event, if possible, with list of filmmakers
darkened and movie titles
is a powerful way to celebrate
Consider how many chairs it can accom- Follow up with guests who have not
the completion of the workshop. modate RSVPd as needed
It raises the voices of the Reserve the necessary equipment
participants, allows them to Sufficient sized screen for ample viewing One Day Prior
or a large, clear wall Prepare the venue, making sure every-
experience the feel of sharing
Projector thing is in place
their stories to an audience, Speakers or sound system Familiarise yourself with the equipment
and often creates a magical, Microphone and room lighting controls
pride-filled moment for each Cables Be sure chairs are arranged for optimal
participant. It also serves an Create an audience guest list, complete viewing

excellent way to engage relevant


with contact information Test the equipment top tip:
Secure cables. Make sure loose cables raise her voice
partners and other audiences, for Three Weeks Prior are taped to the floor securely where
example local elected officials, Create an invitation with RSVP date and people might sit or walk Have each participant introduce
community leaders, educators distribute to the audience guest list herself and her film prior to its
Make arrangements for refreshments Day Of viewing. A typical introduction
and religious leaders.
Arrive early in case you encounter any would be 2-3 minutes in length
surprises and include a personal reflection
Double-check everything is in place and
on the DST process or her story,
working
without talking about her specific
Enjoy!
story.
65 Running a Workshop

DST Workshop save/share electronic files in addition to


the hard copies.
Follow-up
If storage and usage consent is granted, it
After the success of your DST workshop, is necessary to ensure safe storage of each
there are a few more steps to bring the participants DST folder and supporting
workshop to complete closure. files. All files should be backed up on the
organisations own flash drive or external
Thank You E-mail to Participants hard drive. The complete folder system (as
Facilitators should send participants an outlined on page xx ) should be copied
e-mail, thanking them for the their partici- from the participants desktop and saved
pation. E-mails can be personalised with a to the organisations USB or hard drive.
facilitators reflections on the weeks
workshop and the growth of the group. Distribution
Information should be given regarding any If consent has been given for distribution
immediate next steps planned with their of films to Women Win, please immediate-
films. It is also good practice to encourage ly advise our Learn Director, Sarah Murray,
the participants to stay in touch as they s.murray@womenwin.org. All supporting
execute their share plans. files should be shared, to include the share
plans, bios and consent forms.
Facilitators should make themselves availa-
ble for any questions or concerns following DST films also can be shared on Women
the workshop. Wins DST portal at www.womenwin.org/
DST. Film files from YouTube and Vimeo or
Storage of Files and Forms audio files can be uploaded.
It is required to save each participants
consent form. If consent is granted to
Women Win, these forms also should be
forwarded to Women Win for our records.
If possible, scan the consent forms and
Resources
67 Resources / 1. Workshop Cheat Sheets

Name:
Supplemental Digital Storytelling
Information Workshop Organisation:

Template
Position:

Brief Biography of yourself (2-3 sentences):

Quote about the DST process:

Mission statement for your story:

Also, please attach a photo of yourself that


you want to accompany your story, as well
as a photo that you would like to be the
background of your story as it plays online.
68 Resources / 1. Workshop Cheat Sheets

Title: MOVE ON! MOVE!


Cheat Sheet: Digital Storytelling
It was discouraging and disappointing In the organization, I discovered my poten-
Sample Scripts Workshop when I first kicked the ball. tials and capacities which had been buried
Everyone was like Doreen! How will you by cultural ties.
Sample Script make it?
I developed confidence courage .
Sample Script Two All my family members and relatives didnt and self-esteem; skills that motivated me
(note the use of bold and in-script think I could perform and this affected me. to move on and fulfil my future.
comment to note voice fluctuations.)
At times I could just stand still recalling on Today, I am self-reliant and furthering my
the statement, particularly from my tertiary education because I ignored the
parents, because I felt disowned. discouragements and disappointments.

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

Audacity Cheat Sheet

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.

File > New Create a new project


File > Save Project Save a project that requires further editing in Audacity format
File > Export as MP3 Export an Audacity project file in MP3 format
View > Float/Dock Undock/dock selected Audacity toolbar
Project > Import Audio Import an audio track into the current project
Project > New Audio Track Add a new audio track at the bottom of the stack
Effect > Amplify Change the volume of selected audio
Effect > Change Pitch Change the pitch/frequency of selected audio without affecting the
tempo
Effect > Change Speed Change the speed by resampling; also increases the pitch
Effect > Change Tempo Change the speed without affecting the pitch
Effect > Compressor Compress the dynamic range of selected audio by softening the loud
parts while keeping the volume of the soft parts the same
Effect > Echo Repeat the selection with a decay, effecting a series of echoes
Effect > Equalization Boost/reduce arbitrary frequencies
Effect > Fade In Increase the volume of selected audio linearly
Effect > Fade Out Decrease the volume of selected audio linearly
Effect > Noise Removal Clean up extraneous noise from a recording
Effect > Repeat Repeat the selection a certain number of times
Effect > Reverse Reverse the selected audio so that the end of the audio is heard first and
the beginning last
Help > Content Access the extensive, embedded documentation

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

Gimp Cheat Sheet


Shodor Graphics and Visualization Workshop

Select tools Transform tools

Rectangle and ellipse select: Change a layer, selection, or


Select with rectangular or path
elliptical shape
Rotate: Turn the item around a

Free select: to select odd point


shapes.
Scale: Change the size

"Fuzzy" select: select similarly-


Shear: Move one side
colored neighboring pixels.
Perspective: Widen one side

Select-by-color: select
Flip: Mirror the image
similarly-colored pixels
throughout the image. Text tool

Scissor select: create a Create a layer of type


selection that intelligently
"snaps" to the edges of the Bucket fill and Blend tools
shape you are selecting. Fill a layer with color or a

Foreground select: roughly gradient, respectively


select an image that is in the
foreground.
Drawing tools
Paths tool
Pencil: Draw hard edges
Create Bezier curves
Paintbrush: Paint soft edges

Eraser: Erase marks made by
other tools in this group
Color picker tool

Airbrush: Paint with soft edges
Select a foreground (click) or
and fill
background (control-click) color

Ink: Paint with a calligraphic
from a point in your image.
effect
Zoom tool
Clone tools
Zoom in or out of your image.
Clone: Paint using another
image as a source
Measure tool
Healing: Similar to clone,
Measure distances in your image.
except the copied image tries
to match its surroundings
Move tool Perspective Clone: Similar to
Move selections. clone, but copied image
adjusts to a set perspective
Align tool
Align and space out images Adjustment tools
relative to one another, the Blur/sharpen: Blur softens
document, or a selection. edges, while sharpen makes
them more crisp
Crop tool Smudge: Smear with a brush
Remove the edges of an image. Dodge/Burn: Dodge lightens
an image, burn darkens an
image
DST_13

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

Adapted from http://


storycenter.org/ethical-
practice/
DST_14
73

digital storytelling workshop

IS AWARDED TO

FOR HER ACTIVE AND ENGAGED PARTICIPATION


Date:

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