skip to main content
10.1145/3678698.3678699acmotherconferencesArticle/Chapter ViewAbstractPublication PagesvinciConference Proceedingsconference-collections
research-article

Create-to-learn Paradigm: A Proxy Visual Storytelling Tool (PVST) for Stimulating Children's Story Sense and Structure

Published: 11 December 2024 Publication History

Abstract

Storytelling is vital to children’s development by nurturing creative thinking, effective communication, and self-expression. Many tools have been created to support children’s creativity. Unfortunately, the existing tools do not adequately integrate visual elements with storytelling, limiting children’s imaginative potential. This study addresses the gap by introducing a proxy visual storytelling tool (PVST) that employs a character-based approach (i.e., proxy character assembling) to enhance children’s creativity and storytelling skills. Through a comparative study using Kurt Vonnegut’s “The Shape of Stories" theory, the PVST was evaluated. The results from a pilot test show that the PVST can increase children’s sense of agency and engagement in the storytelling learning process. Additionally, it can stimulate children’s creative imagination, improve their storytelling abilities, and enable them to construct more fluent and articulate narratives. The findings highlight the importance of incorporating visual storytelling elements in enhancing children’s creativity and storytelling skills, ultimately fostering a more engaging and enriching learning experience.

References

[1]
Denise E Agosto. 2013. If I had three wishes: The educational and social/emotional benefits of oral storytelling. Storytelling, Self, Society 9, 1 (2013), 53–76.
[2]
Houman Alborzi et al. 2000. Designing StoryRooms: Interactive storytelling spaces for children. In Proceedings of the 3rd conference on Designing interactive systems: processes, practices, methods, and techniques. 95–104.
[3]
Adele Bruni Ashley. 2016. With an Eye to its Movement’: Revitalizing Literature through Remix and Performance. Ph. D. Dissertation. Columbia University.
[4]
Zhen Bai et al. 2015. Exploring expressive augmented reality: The FingAR puppet system for social pretend play. In Proceedings of the 33rd Annual ACM Conference on Human Factors in Computing Systems. 1035–1044.
[5]
Yang Baicheng et al. 2017. Happy Learning, Realizing Your Potential — A Case Study of a Local Primary School. Hong Kong Brainstorming Association. https://www.ideascentre.hk/wordpress/wp-content/uploads/2009/02/Re_port-on-Happy-Learning_20170224_Final.pdf
[6]
Emine Bala. 2015. Storytelling in EFL classes. International Journal of Social Sciences & Educational Studies 2, 2 (2015), 20–23.
[7]
Brian Boyd. 2010. On the origin of stories: Evolution, cognition, and fiction. Harvard University Press.
[8]
George Braine. 2003. From a teacher-centered to a student-centered approach: A study of peer feedback in Hong Kong writing classes. Journal of Asian Pacific Communication 13, 2 (2003), 269–288.
[9]
Pandy Brodie and Kate Irving. 2007. Assessment in work-based learning: investigating a pedagogical approach to enhance student learning. Assessment & Evaluation in Higher Education 32, 1 (2007), 11–19.
[10]
Marcel Broersma. 1880. Form, style and journalistic strategies. An Introduction. W: M. Broersma (red.), Form and Style in Journalism. European Newspapers and the Representation of News 2005 (1880).
[11]
Winslow Burleson. 2005. Developing creativity, motivation, and self-actualization with learning systems. International Journal of Human-Computer Studies 63, 4-5 (2005), 436–451.
[12]
Fabio Campos et al. 2017. The Conference of the Birds: A Collaborative Storytelling Environment for Literacy Development. In Proceedings of the 2017 Conference on Interaction Design and Children. 729–732.
[13]
Eric Chu and Deb Roy. 2017. Audio-visual sentiment analysis for learning emotional arcs in movies. In 2017 IEEE International Conference on Data Mining (ICDM). IEEE, 829–834.
[14]
Sharon Lynn Chu et al. 2015. Enabling instrumental interaction through electronics making: Effects on children’s storytelling. In International Conference on Interactive Digital Storytelling. Springer, 329–337.
[15]
Zeynep Dere. 2019. Investigating the Creativity of Children in Early Childhood Education Institutions. Universal Journal of Educational Research 7, 3 (2019), 652–658.
[16]
C Scott Findlay and Charles J Lumsden. 1988. The creative mind: Toward an evolutionary theory of discovery and innovation. Journal of Social and Biological Structures 11, 1 (1988), 3–55.
[17]
Ka Yan Fung and Kwong Chiu Fung. 2020. HCI technology with mastery learning approach for children learning Chinese characters writing in Hong Kong. In 2020 IEEE 20th International Conference on Advanced Learning Technologies (ICALT). IEEE, 226–227.
[18]
Ka Yan Fung, Kwong Chiu Fung, and Wai Yan Wan. 2019. Augmented reality and 3D model for children Chinese character recognition-Hong Kong primary school education. In Proceedings of 27th International Conference on Computers in Education, ICCE 2019, Vol. 1. 673.
[19]
Ka-Yan Fung, Lik-Hang Lee, Pan Hui, and Shenghui Song. 2023. Can underprivileged children learn effectively at home? a six-month study of game-based traditional Chinese learning during the pandemic lockdown. IEEE Transactions on Learning Technologies 17 (2023), 294–309.
[20]
Ka Yan Fung, Lik Hang Lee, Kuen Fung Sin, Shenghui Song, and Huamin Qu. 2024. Humanoid robot-empowered language learning based on self-determination theory. Education and Information Technologies (2024), 1–30.
[21]
Ka Yan Fung, Kit Yi Tang, Tze Leung Rick Lui, Kuen Fung Sin, Lik Hang Lee, Huamin Qu, and Shenghui Song. 2024. ADPS–A Pre-screening Tool for Students with Dyslexia in Learning Traditional Chinese. IEEE Transactions on Learning Technologies (2024).
[22]
Sara Gable et al. 2000. Creativity in young children. Retrieved February 15 (2000), 2009.
[23]
Sonia Gakhar and Ann Thompson. 2007. Digital storytelling: Engaging, communicating, and collaborating. In society for information technology & teacher education international conference. Association for the Advancement of Computing in Education (AACE), 607–612.
[24]
Franca Garzotto et al. 2010. Interactive storytelling for children. In Proceedings of the 9th International Conference on Interaction Design and Children. 356–359.
[25]
Jane M Healy. 2000. Failure to connect: How computers affect our children’s minds: for better or worse. The Phi Delta Kappan 81, 5 (2000), 1–11.
[26]
Chip Heath and Dan Heath. 2007. Made to stick: Why some ideas survive and others die. Random House.
[27]
Sibel Ersel Kaymakamoglu. 2018. Teachers’ Beliefs, Perceived Practice and Actual Classroom Practice in Relation to Traditional (Teacher-Centered) and Constructivist (Learner-Centered) Teaching (Note 1). Journal of Education and Learning 7, 1 (2018), 29–37.
[28]
Richard Kimbell. 2000. Creativity in Crisis. Journal of Design and Technology Education 5, 3 (2000), 206–11.
[29]
Chen Chung Liu et al. 2017. A social network analysis on elementary student engagement in the networked creation community. Computers & Education 115 (2017), 114–125.
[30]
Heather Lotherington and Jennifer Jenson. 2011. Teaching multimodal and digital literacy in L2 settings: New literacies, new basics, new pedagogies. Annual review of applied linguistics 31 (2011), 226–246.
[31]
Fei Lu et al. 2011. ShadowStory: creative and collaborative digital storytelling inspired by cultural heritage. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems. 1919–1928.
[32]
Rob McCarney, James Warner, Steve Iliffe, Robbert Van Haselen, Mark Griffin, and Peter Fisher. 2007. The Hawthorne Effect: a randomised, controlled trial. BMC medical research methodology 7 (2007), 1–8.
[33]
Sianne Ngai. 2004. Ugly feelings. Harvard University Press.
[34]
Eleni Papadimitriou et al. 2013. Digital storytelling in Kindergarten: An Alternative tool in children’s way of expression. Mediterranean Journal of Social Sciences 4, 11 (2013), 389–389.
[35]
Daniel Pietschmann, Sabine Völkel, and Peter Ohler. 2014. Transmedia Critical| Limitations of Transmedia Storytelling for Children: A Cognitive Developmental Analysis. International Journal of Communication 8 (2014), 22.
[36]
Jonathan A Plucker and Matthew C Makel. 2010. Assessment of creativity. (2010).
[37]
Michael W Pratt et al. 2001. Stories of hope: Parental optimism in narratives about adolescent children. Journal of Social and Personal Relationships 18, 5 (2001), 603–623.
[38]
Kimiko Ryokai et al. 2012. StoryFaces: pretend-play with ebooks to support social-emotional storytelling. In Proceedings of the 11th International Conference on Interaction Design and Children. 125–133.
[39]
Anna Sfard. 1998. On two metaphors for learning and the dangers of choosing just one. Educational researcher 27, 2 (1998), 4–13.
[40]
Darlene A Smucny et al. 2016. Teaching strategies to promote imagination and creativity through student choice. In Innovations in Teaching & Learning Conference Proceedings, Vol. 8.
[41]
Arash Soleimani et al. 2019. CyberPLAYce—A tangible, interactive learning tool fostering children’s computational thinking through storytelling. International Journal of Child-Computer Interaction 20 (2019), 9–23.
[42]
Nathalie Sonck et al. 2012. Digital skills in the context of media literacy. In Children, risk and safety on the internet. Policy Press, 87–98.
[43]
Robert J Sternberg and Elena L Grigorenko. 2004. Retracted article: Successful intelligence in the classroom. Theory into practice 43, 4 (2004), 274–280.
[44]
Robert J Sternberg and Todd I Lubart. 1995. Defying the crowd: Cultivating creativity in a culture of conformity.Free press.
[45]
Zoi Tsiviltidou and Giasemi Vavoula. 2017. Digital storytelling as a framework for inquiry-based museum learning. In 2017 IEEE 17th International Conference on Advanced Learning Technologies (ICALT). IEEE, 403–405.
[46]
Veena Vasudevan et al. 2015. Make, wear, play: remix designs of wearable controllers for scratch games by middle school youth. In Proceedings of the 14th international conference on interaction design and children. 339–342.
[47]
Ana Luísa Veloso and Sara Carvalho. 2012. Music composition as a way of learning: emotions and the situated self. Musical creativity: Insights from music education research (2012), 73–92.
[48]
Philip E Vernon. 1989. The nature-nurture problem in creativity. In Handbook of creativity. Springer, 93–110.
[49]
Kurt Vonnegut. 2010. Kurt Vonnegut on the Shapes of Stories. https://www.youtube.com/watch?v=oP3c1h8v2ZQ
[50]
Karen Ann Watson-Gegeo and Stephen T Boggs. 1977. From verbal play to talk story: The role of routines in speech events among Hawaiian children. In Child discourse. Elsevier, 67–90.
[51]
Graham F Welch and Gary E McPherson. 2018. Commentary: Music education and the role of music in people’s lives. Music and Music Education in People’s Lives: An Oxford Handbook of Music Education, Volume 1 1 (2018), 1.
[52]
Rosanna Wong et al. 2016. Do "Flipped Classrooms" Motivate Students to Learn? (2016). https://yrc.hkfyg.org.hk/wp-content/uploads/sites/56/2016/02/YI008_Report.pdf
[53]
Rabia Meryem Yilmaz and Yuksel Goktas. 2017. Using augmented reality technology in storytelling activities: examining elementary students’ narrative skill and creativity. Virtual Reality 21 (2017), 75–89.
[54]
David Kei Man Yip. 2020. The Invisible Art of Storytelling and Media Production. In International Conference on Applied Human Factors and Ergonomics. Springer, 262–266.
[55]
David Kei-man Yip. 2020. Visual Elements and Design Principles in Media Production. In Advances in Creativity, Innovation, Entrepreneurship and Communication of Design: Proceedings of the AHFE 2020 Virtual Conferences on Creativity, Innovation and Entrepreneurship, and Human Factors in Communication of Design, July 16-20, 2020, USA. Springer, 283–288.

Recommendations

Comments

Information & Contributors

Information

Published In

cover image ACM Other conferences
VINCI '24: Proceedings of the 17th International Symposium on Visual Information Communication and Interaction
December 2024
286 pages
ISBN:9798400709678
DOI:10.1145/3678698
Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than the author(s) must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected].

Publisher

Association for Computing Machinery

New York, NY, United States

Publication History

Published: 11 December 2024

Check for updates

Author Tags

  1. Visual Storytelling Innovative Process
  2. Active Learning
  3. Shapes of Story
  4. Creativity

Qualifiers

  • Research-article

Funding Sources

  • The Hong Kong University of Science and Technology (HKUST) Startup Fund

Conference

VINCI 2024

Acceptance Rates

Overall Acceptance Rate 71 of 193 submissions, 37%

Contributors

Other Metrics

Bibliometrics & Citations

Bibliometrics

Article Metrics

  • 0
    Total Citations
  • 105
    Total Downloads
  • Downloads (Last 12 months)105
  • Downloads (Last 6 weeks)26
Reflects downloads up to 25 Feb 2025

Other Metrics

Citations

View Options

Login options

View options

PDF

View or Download as a PDF file.

PDF

eReader

View online with eReader.

eReader

Full Text

View this article in Full Text.

Full Text

HTML Format

View this article in HTML Format.

HTML Format

Figures

Tables

Media

Share

Share

Share this Publication link

Share on social media