Introductory Chapter: From Traditional to Digital Storytelling

1. Introduction

Almost as old as human history, storytelling is a mode of communication in which verbal and visual signals entertain and educate “story listeners”. Digital storytelling is a new style narrative with similarities and apparent distinctions to more traditional types of storytelling. The influence of new generation technologies (AR, VR, Mixed reality, etc.) has significantly enlarged the potential impact area of storytelling and prospective application areas for various disciplines. In this sense, it can be viewed as a tool with potential benefits for businesses, non-profit organisations, tourism operators, educators, online/mobile game creators, marketers, and others in a variety of settings (engagement, training, building relationships, changing behaviour, informing, etc.).

2. Traditional storytelling

The notion of storytelling predates recorded human history, and before to the development of written language, oral diffusion served as a means of disseminating wisdom, knowledge, and information, frequently in the form of narrative accounts [1]. The rapid spread of personal computing and the Internet has resulted in a significant transformation of the dynamic between storytelling and technology within a relatively brief timeframe [1]. The following developments have resulted in significant transformations across various aspects, including the narrative objectives and the methods employed in storytelling [2]. Previously, technology served as a means to disseminate narratives to a broader audience. However, it has now evolved into a tool that can be intricately woven into the storytelling process and become an integral component of the narrative itself [1].

The utilisation of storytelling as a means to clarify complicated concepts has been recognised as a straightforward yet influential approach [2]. The utilisation of storytelling as a means of transmitting information, beliefs, and traditions has been identified as an effective approach [3]. According to Van Gils [2], individuals exhibit a greater inclination to allocate their attention towards information that is presented within the context of an engaging or attractive narrative. Consequently, this approach represents a significant and enduring means of conveying information, whereby the integration of spoken and visual elements serves to educate, instruct, and engage a certain audience [4].

The act of storytelling inherently involves a social dynamic, wherein a narrator and a listener are both actively engaged [5]. According to Spanjaard et al. [4], a narrative that is deemed “good” should effectively establish credibility and enjoyment in both the storyteller’s construction and the receiver’s interpretation of the story. A distinction exists between the process of creating a tale and the process of consuming a story, when the decoded narrative undergoes a transformation within the mind of the recipient, as described by Pera and Viglia [5].

3. Digital storytelling

Due to the multifaceted nature of its usage, providing a specific definition of digital storytelling proves challenging. One example of utilising digital media, such as digital images or video clips, is the act of narrating personal tales [2]. Based on this perspective, digital stories can be characterised as narratives that incorporate various multimedia components such as images, video, text, and audio. The incorporation of multimedia artefacts, such as photos, music, and video, serves to enhance the narrative experience and develop a more comprehensive link between the narrator and the audience [6].

A different approach is based on the concept that computers have the capacity to produce narratives that involve human interaction and perhaps function independently [2]. Digital storytelling is a comprehensive concept that incorporates diverse modalities and procedures of narrative that are generated and disseminated in digital formats, as indicated by Ref. [7]. The various forms encompassed within this category are narrative stories, stories consisting solely of images, internet radio stories, podcasting, and multimedia narratives that integrate visuals, sound, and potentially text. According to Rossiter and Garcia [6], contemporary digital tools facilitate the seamless integration of many aspects, enabling digital storytellers to effectively convey their narratives.

The fundamental assumption of this research is that technology is undergoing a rapid transformation of society, culture, and consciousness [7]. The origins of digital storytelling may be traced back to the 1980s [6]. Based on this perspective, the rapid development of visual culture and computing technology has rendered traditional teaching approaches, particularly in the arts and humanities, obsolete for several modern university students [7].

The transition to digital platforms necessitates storytellers to expand their technology skills, although the fundamental principles of storytelling remain unaltered [1]. Digital storytelling, similar to its conventional counterpart, entails the act of communication and involves a creative effort that necessitates individuals to employ their imaginative faculties [8]. The process of narrative transportation involves the emotional immersion of story recipients into the narrative world created by the storyteller. This immersion is facilitated by the recipients’ ability to empathise with the characters and visualise the events described in the story. As a result, the recipients internalise the stories, forming a connection with the character. Video storytelling possesses a significant advantage over written storytelling in terms of its ability to evoke the emotional aspect of consumer relationship experiences, hence converting individual consumption experiences into collective ones [5]. Similar to conventional storytelling, Digital Storytelling contributes to the development of cognitive abilities such as comprehending a narrative and employing inductive reasoning to address challenges. However, the process of crafting digital stories also necessitates the acquisition of technological skill by utilising software and other related resources [8].

Nevertheless, distinctions persist between conventional and digital forms of storytelling. One of the primary concerns pertains to the transformative impact of digital storytelling, which has significantly expanded the capabilities of storytellers. This medium not only enables them to access previously untapped audiences, but also allows for a novel approach in engaging with these audiences [1].

4. Various application domains

Both conventional and digital storytelling has a multitude of applications. There is a wealth of evidence demonstrating the integration of digital storytelling in many social, cultural, and educational initiatives within the last twenty years [6]. Storytelling has various purposes, ranging from providing amusement to imparting knowledge and fostering learning among individuals [2]. Both of these methods can serve as effective educational tools for individuals of all age groups. According to Van Gils [2], storytelling presents a potent approach for imparting knowledge to individuals. The acquisition of skills through digital storytelling holds relevance for the contemporary job market in a broad manner [8].

According to Clarke and Adam [7], digital storytelling was perceived as an innovative method of conveying grassroots culture, which refers to the public culture that is not adequately represented by mainstream media and entertainment institutions. In accordance with scholarly discourse, digital narratives have been suggested as viable substitutes for conventional academic essays, serving as a medium for the examination of cultural phenomena and facilitating the cultivation of personal identity [6]. The emergence of digital storytelling occurred within a context where artists were dedicated to promoting cultural inclusivity, aiming to elevate and amplify the voices of persons and groups who have historically been silenced, marginalised, or overlooked by dominant cultural norms [7].

5. Conclusion

In a general sense, digital storytelling is presently employed as an educational instrument, a research methodology, a means of community involvement, and a therapeutic medium. According to Clarke and Adam [7], the tool in question serves as a means of communication, education, research, and personal reflection. Accordingly, this book aims to address the concept of storytelling holistically.