I was co-presenting the workshop “Framing Stories for Social Change” at a regional storytellers’ event in April of this year. The workshop focused on the use of digital stories for promoting change and awareness, a theme that I have written about in this blog. The audience was primarily oral storytellers, professionals who are paid for their performances and others who use storytelling in their work or life. While there was interest in the use of personal digital stories, there was more interest in how stories told orally could be used to make a difference.
This blog post is an initial attempt to answer that question, focusing on my own experience. Before getting into this, I want to touch on the “storyteller’s magic.” There is something special about telling a story to a live audience, because when the story and the telling is working, the individuals listening are very present and engaged. I was talking several weeks ago with Kay Weeden, a bilingual storyteller who used to be a middle-school teacher. She was talking about the first time she told a story in her class, and how suddenly students started to really pay attention. A similar thing would happen when I was teaching social work students in college. In a class where some people looked distracted, when I switched to the storytelling mode every eye would be focused on me.
That’s not to say that any time anyone sets out to tell a story, there will be rapt attention from an audience. Stories need to be well-constructed with a beginning and an end, although not necessarily follow a linear timeline. They need to be about something. Jay O’Callahan, the superlative New England storyteller, says that stories are about people and places and troubles. Kendall Haven, in his 2014 book Story Smart: Using the Science of Story to Persuade, Influence, Inspire, and Teach, gives a succinct definition of a story: “a narrative account of a real or imagined account of an event or events.”1 Haven also states that for a story to be effective, there needs to be sufficient relevant detail to make it seem real, vivid, and compelling. When these components are present, and the teller is skillful, good things can happen.
In telling stories to promote change or raise awareness, the goal is not just to hold an audience’s attention but also to help them think about an issue or a group of people in a different way, and perhaps to take action.
My first experience of attempting to use stories for awareness was through the Wisconsin Humanities Council, which funded a story-based presentation I gave on poverty and homelessness in the Great Depression and the present. A researcher at the University of Wisconsin-Oshkosh shared stories with me of people who had lived during the Great Depression in Oshkosh, oral histories gathered by his students in interviewing older adults. I paired these with my experiences from working for nine years in a shelter for homeless families in Southeastern Wisconsin. For the current stories, I would take the persona of the person experiencing homelessness whose story I was telling and tell it more or less in their voice. I would then step back and talk about it from the perspective of a social worker and professor. Over an eight-year period, through the Wisconsin Humanities Council Speaker’s Bureau and other invitations, I gave that presentation more than twenty times.
How well did it work? I really don’t know. I know that I had the audience’s attention while I was talking. There would be discussion afterwards, more in some venues than others. There was no systematic or unsystematic evaluation.
When I put the talk together and presented it, I did so without thinking much about how to address an audience that might be skeptical. I also did not know then what I do now, about the importance of framing a story. The Frameworks Institute. has conducted research on the difficulty of communicating with the general public about homelessness. The research was in the United Kingdom, but I believe that the findings and recommendations can be applied to this country. Their analysis showed that that people see homelessness as divorced from larger economic forces, and being homeless is seen as an individual rather than a collective problem. The Frameworks Institute recommends that organizations working in this area define homelessness in the context of the large group of people whose fragile economic status puts them at risk of being homeless. They counsel that stories that are told of individuals should be in the context of systemic causes which have systemic solutions, and these solutions can lead to positive societal consequences. Connecting the stories with commonly held positive values can lead people to consider homelessness as something other than personal failure.
I am currently putting together a story-based 35-minute piece that I will be presenting at least three times in the fall of 2018 in Wisconsin. I draw on my experiences living in El Salvador as a Peace Corps Volunteer in the early 1970s and in conducting research on youth and migration from 2005 to the present in that country. I also bring in stories of people I know, recent immigrants from Latin America to Wisconsin.
In this presentation, again drawing on the work of the The Frameworks Institute , I am attempting to link the reasons for immigrating to the United States with commonly held values, like our shared humanity. I will draw connections between newcomers to this country and my ancestors, who came to this land more than 375 years ago. My goal is to not come across as a figure of authority but someone who is sharing stories that are important to me, in the hopes that the presentation will be a springboard for discussion.
How can I tell if these presentations/discussions have been successful? It will be hard to determine. Talking to community groups is not like conducting a research study, where one can conduct pre-tests and post-tests. One indicator could be the amount of discussion generated from the presentation, but that is hard to quantify.
From my point of view, being able to tell if these stories and this presentation have shifted attitudes or beliefs is not the point. Certainly, I would be pleased if individuals coming to the presentation with a negative view on immigration came away with more nuanced opinions. But mainly, I want to spark discussion and communication. I want to listen as well as talk. That is something that those who live in this country are not doing very much these days. And if through stories, which captivate attention and aid one in understanding the situation of others, I have laid the groundwork for talking with each other, I will be pleased.
1 Haven, Kendall (2014). Story Smart: Using the Science of Story to Persuade, Influence, Inspire, and Teach. Santa Barbara, CA: Libraries Unlimited, p. 11.
When advocacy groups and nonprofit organizations reach out to the public, an important first step is answering the question “Who is my audience?” It is not possible to effectively communicate with everyone. Information, messages, and stories that resonate with one group of people may not resonate with others. Identifying key audiences allows an organization to choose and shape what is shared.
Figuring out “Who is my audience?” is usually presented as a linear process: identify those you want to reach, find out as much about them as you can, and then tailor your communication so that it not only reaches this group but may inspire them to support your cause or organization.
Organizations and advocacy groups often use stories in their communication with key audiences. As I have written about at other times in this blog, we respond more fully to individuals’ stories than we do to facts and information, engaging more emotionally and with more parts of our brain.
However, when it comes to the use of personal stories from those affected in some way by an issue, the process may be different than the linear one described above. In the digital storytelling model pioneered by StoryCenter, individuals tell and create their own stories, each in their own voice. When I conduct three-day digital storytelling workshops using this approach, I invite participants to: “Tell a story that is important to you, a story that only you can tell.”
When groups use stories to make a point, often they make the stories of participants/clients fit a predetermined message. If groups or organizations have access to individual personal stories that are powerful, rather than trying to make the stories fit the message of the organization (like Cinderella’s stepsister attempting to fit a size 11 foot into a size 7 glass slipper), a better approach would be to ask, “Which groups or kinds of individuals would be responsive to this story?”
I came across the digital story “Mr. Sunday” on the website of Creative Narrations. In this story, Marco Dominguez’ tells of his decision to leave his position in a college to teach public school, and the meanings of his presence to his public school Latinx students. For me, his story skillfully illuminates the importance of students having a teacher they can identify with, especially when teachers who look like them are few.
I received permission from Marco to share his story on this blog. As I asked myself: “Who are people I know who would benefit from hearing this story?” the names and faces of the people who came to mind were individuals who are already sympathetic to this issue, but are not involved in diversifying the educational experience of underrepresented groups. I am not sure that others I know, people who are more conservative on immigration policy, would react positively to this digital story.
As we are living in a very divided country, it is important to reach out to those who may not necessarily agree with you, and it also essential to communicate with those who may be on your side. “Preaching to the choir” is seen as a negative, but in my opinion this is only problematic when one’s efforts go into convincing those who are already convinced. Preaching to the choir can be effective when your aim is to convince people who are already on your side to take action.
If this video were to be shared with individuals with sympathy for this issue, for the digital story to have the desired impact, it is necessary to “make the ask,” to clearly state what you want the audience to do. When I first started working on political campaigns, I learned the importance of “the ask.” I was told a story about Thomas P. “Tip” O’Neill, a Massachusetts politician. This version of the story comes from the Boston College Libraries1 :
O’Neill learned the importance of the ask in his first campaign for the Massachusetts state legislature. On the last day of the campaign, Mrs. Elizabeth O'Brien, his high school teacher who lived across the street from him, approached the aspiring politician and said, "Tom, I'm going to vote for you tomorrow even though you didn't ask me." O'Neill was puzzled by her response. He had known Mrs. O'Brien for years and had done chores for her, cutting grass, raking leaves and shoveling snow. He told his neighbor, "I didn't think I had to ask for your vote." She replied, "Tom, let me tell you something: People like to be asked."
People like to be asked, and it is also true that if you do not directly ask someone to do something—take action on an issue, support a cause or organization—they very well may not do anything. We are bombarded with information. A 2009 study suggested that 34 gigabytes of content and 100,000 words of information crossed our eyes and ears every day.2 By now, it must be more. We react passively to most of this. When individuals are asked to respond to something, even if they decline to do so, the act of making that choice means that they are more engaged.
Stories can be an important tool in challenging people to get involved and lend support, when we choose stories to share with an audience where it is likely that the seeds of the story will fill fertile ground. And when you do that, make sure that you include the ask.
1 https://www.bc.edu/libraries/about/exhibits/burnsvirtual/oneill/4.html 2https://bits.blogs.nytimes.com/2009/12/09/the-american-diet-34-gigabytes-a-day/
As humans, we respond to stories. Roger Schank, a pioneer in artificial intelligence, wrote that we make sense of the world through the stories we tell and are told, and that the human brain is wired to understand, react emotionally, and retain information from stories.1
When we are exposed to a PowerPoint presentation, only the language processing part of the brain that decodes words into meaning is active. However, when we are told a story, not only are the language processing areas of our brain activated, but also other areas that we would use if we were experiencing the events—the sensory cortex if the way an object smells is described, the motor cortex if an individual in the story walks quickly.2 To some degree, we actually live the stories that we are told.
Not only do we connect to stories on the level of our senses, we also relate on an emotional level to individuals’ stories. For those reasons, in advocacy and awareness work, we often use individuals’ stories to call attention to social and political issues and to generate support for organizations.
A drawback to using individuals’ stories is that researchers have found that we are more likely to respond on an emotional level to the story of an individual than a story of many people. This may be because when we hear a story about one person, we can form a mental image of that person, and then we identify with that mental image. When we hear of a situation experienced by many, it becomes more difficult to form that mental image. Without that mental image, we care less. Joseph Stalin allegedly once said to U.S. ambassador Averill Harriman: "The death of one man is a tragedy, the death of millions is a statistic."
In addition to the difficulty in responding emotionally to the situation of more than one person, another factor that comes into play is the concept of pseudoinefficacy. Efficacy, according to psychologist Albert Bandura, is having the ability or capacity to produce a desired result or effect.3 With a greater sense of self-efficacy, there is increased motivation to act or respond to a situation. In contrast to efficacy is pseudoinefficacy, a state in which when individuals are aware of many people in a situation that they cannot help, they often feel less good about helping those they can help, and they help less often. 4
Motivation to act or respond may be diminished when the numbers affected by a catastrophe or debilitated social condition increase, when individual stories coalesce into statistics. Researchers tested this hypothesis with an experiment in which participants in an unrelated research study were given a small stipend, and then given the opportunity to donate a portion of this stipend to a starving child in a developing country. One group was asked to donate to one particular starving child. Another group was asked to donate to one of two starving children. Fewer individuals in the second group opted to donate. When in a related experiment, a starving child was presented as one of many in that situation, there was even less willingness to help. 5 Pseudoinefficacy seemed to be operating in this situation.
So how do we overcome the challenge of pseudoinefficacy? One approach would be to share personal stories that illustrate evidence-based approaches that have proven to be successful in addressing the issue, so that the listener/reader understands that actions can yield positive results.
The authors of the study on pseudoinefficacy suggest that examples of personal efficacy might combat the feeling that no actions will have an impact. An illustration of this comes from Loren Eisley’s essay “The Star Thrower.” 6 Eisley describes a narrator walking along the beach at dawn when he sees a man who had stopped and was looking down at the sand.
In a pool of sand and silt a starfish had thrust its arms up stiffly and was holding its body away from the stifling mud.
"It's still alive," I ventured.
"Yes," he said, and with a quick yet gentle movement he picked up the star and spun it over my head and far out into the sea. It sunk in a burst of spume, and the waters roared once more.
..."There are not many who come this far," I said, groping in a sudden embarrassment for words. "Do you collect?"
"Only like this," he said softly, gesturing amidst the wreckage of the shore. "And only for the living." He stooped again, oblivious of my curiosity, and skipped another star neatly across the water. "The stars," he said, "throw well. One can help them."
The narrator walks on, and after reflecting on our relationships to animals and the universe, returns to the beach to find the starfish thrower. He says, "Call me another thrower," and begins to toss the sea stars back into the ocean.
Being aware of the complexities of communicating for advocacy, awareness, and generating support, we can demonstrate what approaches are effective and tailor our use of narratives. Stories, either fictional ones like Eisley’s star thrower or ones from real life, can be used to challenge the prevailing attitude that there is nothing that an individual can do while appealing to our better selves.
1. Schank, Roger. (1995) Tell Me A Story. Evanston, IL: Northwestern University Press.
2. Paul, Annie Murphy. (2012, March 17), Your Brain on Fiction. Retrieved from https://www.nytimes.com/2012/03/18/opinion/sunday/the-neuroscience-of-your-brain-on-fiction.html?pagewanted=all&auth=login-email
3. Bandura, Albert. (1997). Self-Efficacy: The Exercise of Self-Control. New York: W. H. Freeman and Co.
4. Vastfjall, Daniel, Slovic, Paul, and Mayorga, Marcus. (2015). Pseudoinefficacy and the Arithmetic of Compassion. In Numbers and Nerves: Information Emotion, and Meaning in a World of Data, Scott Slovic and Paul Slovic, eds. Corvallis, OR: Oregon State University Press.
5. Vastfjall, Daniel, Slovic, Paul, Mayorga, Marcus, and Peters, Ellen. (2014). Compassion Fade: Affect and Charity Are Greatest for a Single Child in Need. PLOS/One. Retrieved from https://doi.org/10.1371/journal.pone.0100115
6. Eisley, Loren. (1969) “The Starfish Thrower” in The Unexpected Universe. New York: Harcourt, Brace and World.
Note: This is the first of six blog posts on story and advocacy/social change. To read all of them, subscribe to the blog.
Through my own work with families experiencing homelessness, through my participation as a board member in an organization that serves struggling and homeless families, and as someone who does public speaking on poverty and homelessness, I have tried to communicate the realities of families and individuals who are struggling economically these days without playing into common stereotypes of poverty and homelessness. And I find it hard.
One approach is to tell stories about individuals experiencing homelessness or barely staying afloat economically. After all, humans are hard-wired for story. As Jonathan Haidt says: “The human brain is a story processor, not a logic processor."* We remember stories, while our eyes often glaze over when we see facts or statistics.
However, using individual stories often does not work. Social service organizations frequently showcase success stories, demonstrating through an example that participation in a program can lead to a better life for this individual or family. Given that we understand stories through the lens of our own ideology and worldview, what often happens is that when politically conservative individuals hear a success story, a common response would be: “If that individual made it, why can’t everyone in that situation?” The success stories can be interpreted in ways that reinforce that American core value of individualism. Many people assume that if someone is not successful, they must be unmotivated and not working hard enough.
I am a founding board member of the ecumenical nonprofit Bethel House, Inc. in Whitewater, Wisconsin (bethelhouseinc.org). We provide transitional housing for families experiencing homelessness and also engage in homelessness prevention. I have been working with the organization’s Executive Director to surmount the challenges of effectively communicating to the public the perilous situation that low-income working adults face, to show how the organization’s work with families is consistent with commonly held values, and to demonstrate that our efforts can make a difference.
We are utilizing the work and research of The Frameworks Institute, an independent nonprofit organization which uses cognitive and social science research to empirically identify the most effective ways of reframing social and scientific topics (http://www.frameworksinstitute.org/). Central to The Frameworks Institute’s approach is changing the way a societal issue is viewed from portrait (focusing on an individual) to landscape (seeing the big picture). This wide-angle lens systems approach means connecting personal stories with the answers to questions such as: “What are the conditions responsible for the problem?” For understanding the situation of low-income working adults, we draw on a number of sources, including research from The United Way of Wisconsin (https://unitedwaywi.site-ym.com/page/ALICE).
We approached individuals who in the past had received services from Bethel house, asking if they would be interested in telling a story about any part of their life before, during, or after experiencing homelessness. I offered to work with them to make a digital story** of their experience. The story, when finished, would be theirs to do with as they wished. When they finished the story, if, they wanted to give Bethel House the right to share it, we would then try to put their individual story in a societal context and perhaps highlight Bethel House’s involvement with them. I also stated that if they chose to make a story, regardless of their choice on who might see the story, the digital story would not divulge any names or show their or their family member's faces.
So far, three individuals have come forward wanting to tell their story. All three wanted Bethel House to use their story (two of the three have been developed to date). One of the stories, “Recovering from the Recession,” can be viewed here. We are in the process of showing the two completed stories to community groups and gathering feedback to assess the response from a range of viewers. It’s a good process. In showing the stories, discovering how they are interpreted and what impact they have, we hope to not only help people understand societal dimensions of homelessness but also to get better at telling stories in context.
* The Righteous Mind: Why Good People are Divided by Politics and Religion, New York, Pantheon Books, 2012, p. 281.
** Digital stories are personal stories, usually less than four minutes long, narrated by the person telling the story, usually including photos, video, and a soundtrack. They can be shared on YouTube or other platforms.
I took a workshop from Minton Sparks, an amazing storyteller/performance artist earlier this year. Her website description (http://mintonsparks.com/) is apt: “Minton Sparks fuses music, poetry, and her intoxicating gift for storytelling to paint word pictures of the rural South that put you square in the middle of the people and the places she knows like the back of her hand.”
Her workshop centered around two questions: “Where are you from?” and “How does where you are from inform the definition of who you are?” After some introductory exercises, we each spent time developing a personal narrative based on George Ella Lyon’s poem “Where I’m From”*. That poem uses the repeating opening lines of “I am from….” Here is a part of the poem:
I am from the dirt under the back porch.
it tasted like beets.)
I am from the forsythia bush
the Dutch elm
whose long-gone limbs I remember
as if they were my own.
It’s a good exercise, and I recommend writing your own version of “I Am From.” I was one of many workshop participants who stated that in the writing process, aspects of our lives became clearer. For me, it was a deeper appreciation of my early years. Here is what I wrote that morning:
I am from a mother who was far more adventurous in her early life that we knew, and we could have figured that out if we were paying more attention.
I am from a house in which Dad could often be found grading papers at the kitchen table, a father who talked a lot but could only express his emotions in writing letters.
I am from the wood lot next door where Brother Dave and I played knights, with fallen dry limbs from the huge beech trees as swords. We were lucky that when those swords were struck together in our play mortal combat, none of the chips that flew put an eye out.
I am from summers playing outdoors in the neighborhood when we were children, leaving the house after breakfast until Mom called us by ringing a bell. After lunch, outside again until the bell for dinner rang.
I am from playing baseball and football in the only place flat enough to play in that foothills of the Appalachia neighborhood. Really enjoyable, though I wasn’t much good at either sport. And, because of my lack of skill and heft, I did not play organized football, so there are not concussions on my medical record.
I am from not making a Little League team, having inherited from my parents my height and brain cells that work pretty well, but subpar reflexes and coordination.
I am from books, my dad building a new bookcase every year, being read to when young, reading them myself when I was able—the Hardy Boys and Tom Swift, and on my 10th birthday, the book Gods and Heroes, containing the Iliad, the Odyssey, and the Greek myths—743 pages long.
I am from King College, where Dad taught, three blocks from our house, and visiting his first office in the basement of the Hay Building, where I could buy the coldest small bottle of Coca-Cola from the vending machine for a dime.
I am from First Presbyterian Church, the old church downtown, not the new one built later farther out, which one of my children called a castle. I am from skipping Sunday School and church and going instead to Bunting’s Drug Store, where William Faulkner once lived upstairs, devouring ice cream sundaes.
I am from not quite fitting in, tall and skinny and glasses that were thicker each year.
I am from visiting our grandmother and relatives in Massachusetts in the summers, from seeing my 17-year-old cousin Wink, with his 1954 MG TD, a guitar, and long hair for that time, and realizing that there was another way to live outside of what I had known growing up in Bristol, Tennessee.
I am from, and I realized this much later, that incredible sense of security from never having been evicted or parents being unemployed, growing up in the same house since I was three years old, always with food in the house, and my mother saying when my brother and I were teenagers that she did not need a light on in the kitchen, because the refrigerator door was always open.
* Teachers and librarians have used this poem in schools and other venues. This is a collection of 73 poems inspired by “Where I’m From” collected by the Kentucky Arts Council: http://www.georgeellalyon.com/where.html
Digital stories are short personal stories, written and narrated by the person who experienced them, and told with photos, sometimes video, and a soundtrack. They can be shared on streaming platforms like YouTube or Vimeo. You can find a number of digital stories on this blog.
Locative digital stories add another dimension. They are site-specific stories which can only be accessed on one’s smartphone or tablet while the viewer is within 100 feet or less of the place where the story took place.
It provides for a different kind of connection. Reading a story can “transport” you away from the physical space in which you inhabit. Last September, I was on an airport bus heading from Wisconsin to Chicago, reading a novel that took place in wintry Maine. A noise startled me, and when I looked outside, I was surprised that there was no snow on the ground.
In contrast, instead of transporting you away, a locative story can make you feel more connected to where you are. Locative stories can reveal the “invisible landscape” of a place, not apparent on its surface, or on a map, or in a history book. They reveal a personal history of the space, a sense of experiencing it through someone else’s eyes at another time.
In 2017, I developed five locative digital stories in the small city in which I live, Whitewater, Wisconsin. The project was funded by the First Citizens State Bank of Whitewater and made possible through the StriveOn app (available free through the Apple App Store or Play Store). StriveOn allows users to access uploaded videos, photos and other information when at specific GPS coordinates. Choton Basu, the developer of the StriveOn app, states: “Our belief is every place has a story. We’re working with communities to tell their stories (www.striveon.io).”
One way to view the five digital stories is by walking on a 2.3-mile loop in Whitewater that goes past all the sites. The stories include a millennial talking about the scary stories he heard as a child of a “haunted” water tower in a city park, a mother telling about how the community rallied to build a state of the art youth baseball field to honor her young son who was killed by a drunken driver, a late middle-age woman recounting how meaningful were the trips she took as a child to the public library, and a bank president proudly describing the role of the bank throughout the city’s history. Perhaps my favorite is titled Mastodon Bone in Whitewater, a long-time resident about my age telling a story that was told to him when he was young by his father, about the origins of a giant bone that was found during a construction project. I smile as I remember the story every time I drive by that spot. Here it is:
Darcy Alexandra is a writer, ethnographer, and documentary storyteller specializing in audio-visual anthropology, digital storytelling and social documentary practices. She currently works at the Institute for Social Anthropology, University of Bern.
Tom McGowan is a chemical engineering whose consulting business takes him all over the world, and a raconteur. He lives in Atlanta, Georgia.
I remember being in Sunday School at the First Presbyterian Church in Bristol, Tennessee sometime during my third-grade year. One Sunday, as part of our lesson, we were given a two-page tale about a boy and a girl, in which they made a mistake and conveniently learned the lesson of the week. I still remember my visceral reaction in reading it--close to outrage. It was not a story, just a moral lesson dressed in narrative clothing for childhood consumption.
At that point, I could not have said what a story or a good story was, but I had been exposed to good stories since my earliest days. I grew up in a house filled with books, the child of parents with three graduate degrees in English between them. My parents read Blueberries for Sal, Make Way for Ducklings, Ferdinand the Bull, and many other books to me when I was young. I devoured the Narnia tales, Greek and Roman myths, and every comic book I could get my hands on.
As an adult, while Social Work and college teaching have been my careers, stories have continued to be a significant part of my life. In the decade of the 1990s I was storytelling a good bit, in elementary schools, libraries, and bookstores. Now, the telling is occasional, mostly at story slams, but for the last nine years I have been working in the medium of digital stories--three-minute personal stories narrated by the story's author, with illustrative photos, video, and music. I create digital stories and help others to make them.
I still couldn't concisely tell you what makes a good story. You can talk about the constituent elements of story-plot, characters, beginning-middle-end, conflict and resolution, and so on. I think back to what Bobby Norfolk said in the introduction to one of his storytelling performances: "All of these stories are true, and some of them actually happened." For me, what distinguishes whether or not a story rings true is if the story grabs me and won't let go, making me feel deeply and think hard about things, sticking with me long after I have hear/read/viewed it.
There are tales told by storytellers that ring true for me--Jay O'Callahan's story of his uncle, a World War II chaplain who won a Medal of Honor in saving a ship and hundreds of men, and Elizabeth Ellis' retelling of the Demeter and Persephone myth, a version that incorporates the story of a daughter who was lost. There is Darcy Alexandra's digital story "Nowhere Anywhere," in which she wonders about the identity of her biological mother and experiences her verbally abusive father. Many of Shakespeare's and Arthur Miller's plays stick with me. The novel The Storied Life of A.J. Fickry and the movie Moonstruck are recently read/viewed stories that for me ring true.
Stories challenge me, feed me, and enrich me. I'm Jim Winship, and I live in Southeastern Wisconsin and in the world of story.
Brenda Rodriguez, a University of Wisconsin-Whitewater graduate and currently an elementary school teacher in Wisconsin, developed this digital story in 2014 in a three-day workshop in which college students each completed a digital story related to race, ethnicity, and/or justice issues.
Storying the Human Experience
Yes, it's a grandiose title. But, as Flannery O'Connor once said, "A story is a way to say something that can't be said any other way."