- Introduction to Indigenous Storytelling Traditions: Exploring oral histories, community-based knowledge sharing, and storytelling's cultural significance.
- Indigenous Storytelling and Technology: How modern digital platforms can preserve, transform, and share Indigenous stories.
- Indigenous Voices in the Digital Space: Examining the role of Indigenous creators, media-makers, and activists in reclaiming and reshaping narratives.
- Digital Sovereignty and Decolonizing Media: Understanding how Indigenous communities use technology to assert sovereignty and resist colonial media structures.
Learning Outcomes:
By the end of this module, students should be able to:
- Understand and critically evaluate traditional Indigenous storytelling practices.
- Analyze the use of digital platforms by Indigenous communities to share and reclaim narratives.
- Investigate digital sovereignty and its role in preserving Indigenous narratives.
- Apply critical thinking to the representation of Indigenous cultures in new media and assess ethical considerations.
Required Readings:
Tekobbe, Cindy. “Indigenous Storytelling and Ways of Thinking and Being.” Indigenous Voices in Digital Spaces, University Press of Colorado, 2024, pp. 32–51. JSTOR, http://www.jstor.org/stable/jj.19307138.7. Accessed 28 Nov. 2024.
Hausknecht, S., Freeman, S., Martin, J., Nash, C., & Skinner, K. (2021). Sharing Indigenous Knowledge through intergenerational digital storytelling: Design of a workshop engaging Elders and youth. Educational Gerontology, 47(7), 285–296. https://doi-org.login.ezproxy.library.ualberta.ca/10.1080/03601277.2021.1927484
Sneh Gupta & Kulveen Trehan (2022) Twitter reacts to absence of women on Wikipedia: a mixed-methods analysis of #VisibleWikiWomen campaign, Media Asia, 49:2, 130-154, DOI: 10.1080/01296612.2021.2003100
Mines, Sara. “Storytelling as a Method of Indigenization." Abenaki Language and Cultural Preservation, Middlebury College, 2019, https://sites.middlebury.edu/abenaki/storytelling-as-a-method-of-indigenization.
Cunsolo Willox, A., Harper, S. L., & Edge, V. L. (2013). Storytelling in a digital age: digital storytelling as an emerging narrative method for preserving and promoting indigenous oral wisdom. Qualitative Research, 13(2), 127-147. https://doi.org/10.1177/1468794112446105
In the first episode of Whose Truth Whose Power, Dr. Cynthia Wesley-Esquimaux shares valuable insights on Indigenous wisdom and power, discussing how these concepts can transform our understanding of the world and wise practices. As someone who had the privilege of working with Dr. Wesley-Esquimaux for a week at the Banff Centre in January, I was able to see firsthand the depth of her work on reconciliation and Indigenous leadership.
ReplyDeleteThe podcast itself blends traditional Indigenous storytelling with modern digital media, enabling Dr. Wesley-Esquimaux's teachings to reach a wider, global audience while maintaining the personal, relational quality inherent in Indigenous oral traditions. By using digital platforms, Indigenous voices can assert sovereignty over their narratives, challenging colonial structures and offering pathways for decolonization. However, the limitations of digital media, such as accessibility issues and the potential commercialization of Indigenous stories, highlight the need for careful stewardship of these spaces. Ultimately, the podcast is a powerful tool for preserving Indigenous wisdom while empowering future generations to engage in the ongoing work of reconciliation.
Works Cited
Alleyne, Suzanne, host. “Indigenous Wisdom and Power.” Whose Truth Whose Power, episode 1, 2021, https://open.spotify.com/episode/2bQmIsEnm2qiRUfljZ49D4
I would like to preface this post by saying that much of what I know about Indigenous storytelling previously came from the educational institutions; as such, I realize that a lot of my experiences with it are laden with colonial bias within the schooling systems. So, I would like to apologize for any ignorance in my comments, and I recognize this to be an area of personal improvement and education – which makes me extra appreciative of this module!
ReplyDeleteGrowing up, I felt really connected with Indigenous stories I would hear in school. I think a lot of this had to do with the parallels I saw between Indian and Indigenous stories, from their oral focus to encounters between humans and animals, from their focus on community and reciprocity to the way they helped explain the world around me. (I also spent a few months in early grade school thinking I was the same type of “Indian” - thanks to the ever-ignorant Christopher Columbus!) This module was a lovely re-introduction into that world of familiar storytelling, with some great insights on how it can be navigated within digital landscapes. My biggest takeaway was that while Indigenous stories can be preserved and expanded in digital forms, the digital world also poses an obstacle to them at times.
In terms of benefits, Hausknecht et al.’s research highlighted how the digitization of storytelling revamps the oral tradition and helps bridge the gap between older and new generations. In doing so, the stories and culture behind them get preserved, simultaneously creating meaningful community interactions, building intergenerational relationships, and even fostering further creativity in students (290-292).
However, there are also cons to this process, a lot of which relate to colonialism and perpetuated biases. Tekobbe’s examples of Shane Creepingbear and Payu Harris demonstrate how the online landscape is still catered to the White world. A similar point was made by Rowe and Tuck (albeit not about digital landscapes) when they stated how cultural studies projects can unknowingly circulate indigenous erasure (7) - making it all the more imperative that we analyze digital content with a de-colonial lens. Willox et al. continued this idea with the discussion of how even digital “narrative structure follows a very Western approach to storylines, which sees the story 'wrap up' neatly within 3-5 minutes,” and a look at technological barriers (like access and supplies) limit digital landscapes for Indigenous communities. Gupta and Trehan took a broader approach as they explore the impacts of the gender digital divide and the spread of inequalities online, which encompasses Indigenous women as well.
Yet, digital Indigenous storytelling still has a lot of potential. Telling Indigenous stories, in any format, challenges white supremacy because it makes visible who [Indigenous communities] are (Tekobbe, 45). Online aspects like fluidity, engagements and collaboration mirror Indigenous values of community, knowledge sharing, and reciprocity (Tekobbe, 40-45), making it a well-suited landscape for storytelling. Political advocates, like those for the Digital Gender Divide, “are bringing the indigenous oral and lost histories to the global platform” (Gupta and Trehan, 131), further furthering Indigenous cultural presence and preservation online. Storytelling itself is a form of indigenization, as its “intimate and participatory nature … opposes colonial efforts to erase and rewrite Indigenous history within educational and government systems” (Mines).
DeleteEven with all of this potential, I think we all still have a responsibility to further educate ourselves to make the digital landscape an even better medium for digital Indigenous storytelling.
For me, this means focusing on self-reflection and decolonization. Lengelle’s article (cited below) suggests that writing allows for self-exploration and reconciliation, with Charity and Charlene’s stories offering examples of these concepts in play. I hope to take these teachings and ideas and apply them in a broader sense to the digital world so I can contribute to a more inclusive, safer, and nurturing online space for Indigenous storytelling.
Works Cited
Gupta, Sneha, and Trehan, Kulveen. “Twitter reacts to absence of women on Wikipedia: a mixed-methods analysis of #VisibleWikiWomen campaign.” Media Asia, vol 49, no. 2, 14 Mar. 2021, pp. 130–154. https://doi.org/10.1080/01296612.2021.2003100
Hausknecht, Simone, et al. “Sharing Indigenous Knowledge through Intergenerational Digital Storytelling: Design of a Workshop Engaging Elders and Youth.” Educational Gerontology, vol. 47, no. 7, Jan. 2021, pp. 285–96. EBSCOhost, https://doi.org/10.1080/03601277.2021.1927484.
Lengelle, Rinekke, Jardine, Charity, and Bonnar, Charlene. "Writing the Self for Reconciliation and Global Citizenship: The Inner Dialogue and Creative Voices for Cultural Healing." In F. Meijers, & H. J. M. Hermans (Eds.), The Dialogical Self Theory in Education: A Multicultural Perspective, 2018, pp. 81–96.
Mines, Sara. “Storytelling as a Method of Indigenization." Abenaki Language and Cultural Preservation, Middlebury College, 2019, https://sites.middlebury.edu/abenaki/storytelling-as-a-method-of-indigenization.
Rowe, Aimee C., and Tuck, Eve. “Settler colonialism and cultural studies: Ongoing settlement, cultural production, and resistance.” Cultural Studies ↔ Critical Methodologies, 2016 vol. 17, no. 1, pp. 3–13.
Tekobbe, Cindy. “Indigenous Storytelling and Ways of Thinking and Being.” Indigenous Voices in Digital Spaces, University Press of Colorado, 2024, pp. 32–51. JSTOR, http://www.jstor.org/stable/jj.19307138.7. Accessed 27 Mar. 2025.
Willox, Ashlee Cunsolo, et al. “Storytelling in a Digital Age: Digital Storytelling as an Emerging Narrative Method for Preserving and Promoting Indigenous Oral Wisdom.” QUALITATIVE RESEARCH, vol. 13, no. 2, Apr. 2013, pp. 127–47. EBSCOhost, https://doi.org/10.1177/1468794112446105.
I really enjoyed these readings.
ReplyDeleteThroughout this module, I found myself deeply reflecting on the significance and complexity of Indigenous storytelling, particularly as it intersects with digital media. Coming from a theatre and acting background, storytelling has always resonated deeply with me. In theatre, we often talk about how we can respectfully draw inspiration from Indigenous ways of storytelling, recognizing how powerful oral traditions are for passing down knowledge and cultural values. Tekobbe (2024) underscores this when stating, “our stories are our theories,” reinforcing my appreciation for the depth and legitimacy inherent in Indigenous storytelling methods.
When thinking about digital platforms, I'm somewhat conflicted. On one hand, digital storytelling offers profound opportunities to preserve cultural traditions, which aligns with what Hausknecht et al. (2021) demonstrated in their intergenerational workshops designed specifically to preserve Nak’azdli Whut’en culture. The authors highlight how these digital storytelling methods genuinely foster community connections, explaining that storytelling through digital media "created an opportunity to involve the Elders with the school, and for the school to be involved with the community" (Hausknecht et al., 2021). But on the other hand, digitizing these sacred and personal stories sometimes feels like a form of continued colonization, particularly when Indigenous communities might not fully control how their narratives are shared or consumed.
This tension reinforces how critical digital sovereignty is - ensuring Indigenous communities have full control over their narratives online. As Cunsolo Willox, Harper, and Edge (2013) argue, digital storytelling has the potential to shift traditional power dynamics because it “begins to dismantle the hyphen between ‘researcher-researched’ and ‘teller-listener’”. This resonated with me strongly; it highlights why community control is not just ethical but essential.
Additionally, Mines (2019) emphasizes the responsibility non-Indigenous individuals have to approach Indigenous storytelling with humility and respect. Her reflection that “it is imperative that we, as non-Indigenous writers, take the time to educate ourselves and acknowledge how our perspectives impact our work” deeply aligns with my own feelings about engaging respectfully with Indigenous cultures, especially given their histories of hardship and marginalization. It reminds me that my role should always center on listening, respecting, and amplifying their voices, not co-opting or appropriating their narratives.
While platforms like Facebook or YouTube undoubtedly help spread Indigenous stories widely, Tekobbe’s (2024) critique reminded me to remain cautious. She argues that these platforms are often rooted in “neoliberal, white supremacist, and patriarchal ideologies,” which can subtly undermine authentic storytelling or force narratives into boxes that align with dominant cultural norms.
Engaging with these readings reinforced my belief in the importance of deeply respecting Indigenous storytelling traditions, empowering digital sovereignty, and recognizing the complex ways in which modern technologies intersect with cultural preservation. I look forward to continuing to learn from Indigenous voices about how best to navigate these complexities with humility and respect.
References:
DeleteCunsolo Willox, A., Harper, S. L., & Edge, V. L. (2013). Storytelling in a digital age: Digital storytelling as an emerging narrative method for preserving and promoting Indigenous oral wisdom. Qualitative Research, 13(2), 127-147. https://doi.org/10.1177/1468794112446105
Hausknecht, S., Freeman, S., Martin, J., Nash, C., & Skinner, K. (2021). Sharing Indigenous knowledge through intergenerational digital storytelling: Design of a workshop engaging Elders and youth. Educational Gerontology, 47(7), 285–296. https://doi.org/10.1080/03601277.2021.1927484
Mines, S. (2019). Storytelling as a method of Indigenization. Abenaki Language and Cultural Preservation, Middlebury College. https://sites.middlebury.edu/abenaki/storytelling-as-a-method-of-indigenization
Tekobbe, C. (2024). Indigenous storytelling and ways of thinking and being. In Indigenous voices in digital spaces (pp. 32–51). University Press of Colorado.
Through reading the required reading materials for this module, I deeply learned that traditional Aboriginal storytelling is not only an important way to pass on culture but also a powerful tool for anti-colonialism. Although digital platforms provide a means of dissemination, they are also accompanied by problems of digital sovereignty and representation. Therefore, it is necessary to understand the role of technology in cultural preservation from a critical perspective and respect the community's intellectual sovereignty and narrative rights.
ReplyDeleteHausknecht et al. (2021) demonstrate how Indigenous storytelling remains central to knowledge transmission. Their workshop with the Nak’azdli Whut’en community enabled Elders and youth to co-create digital stories, reinforcing oral traditions while integrating media tools. “Storytelling, led by Elders recognized as knowledge holders, is a deeply valued aspect of teaching and learning history, language, place, culture, and Indigenous Knowledge” (Hausknecht et al., 2021). However, Gupta and Trehan (2021) further illuminate the digital marginalization of Indigenous and marginalized women on Wikipedia, stating, “Wikipedia’s content creation remains predominantly white and male, which reinforces gendered knowledge inequity” (p. 5). The #VisibleWikiWomen campaign used Twitter to challenge this bias but also exposed the limits of visibility politics on corporate platforms. This also reminds me of an article I read before: “The systematic exclusion, trivialization, and marginalization of missing/murdered Aboriginal women can be described as symbolic annihilation” (Gilchrist 2010). Moreover, Sarah Mines positions storytelling as a method of indigenization and decolonization, arguing that “stories are not just a method of knowledge-sharing, but also tools of resistance and re-centering Indigenous perspectives.” Her emphasis on collective, relational storytelling aligns with ethical principles of representation and agency in new media.
In a nutshell, as Indigenous narratives are increasingly mediated through digital forms, ethical storytelling must prioritize cultural protocols, consent, and control. True representation goes beyond access—it requires autonomy and respect.
References:
Gilchrist, K. (2010). “Newsworthy” Victims? Exploring differences in Canadian local press coverage of missing/murdered Aboriginal and White women. Feminist Media Studies, 10(4), 373–390. https://doi-org.login.ezproxy.library.ualberta.ca/10.1080/14680777.2010.514110
Gupta, S., & Trehan, K. (2021). Twitter reacts to absence of women on Wikipedia: a mixed-methods analysis of #VisibleWikiWomen campaign. Media Asia, 49(2), 130–154. https://doi-org.login.ezproxy.library.ualberta.ca/10.1080/01296612.2021.2003100
Hausknecht, S., Freeman, S., Martin, J., Nash, C., & Skinner, K. (2021). Sharing Indigenous Knowledge through intergenerational digital storytelling: Design of a workshop engaging Elders and youth. Educational Gerontology, 47(7), 285–296. https://doi-org.login.ezproxy.library.ualberta.ca/10.1080/03601277.2021.1927484
Mines, Sara. “Storytelling as a Method of Indigenization." Abenaki Language and Cultural Preservation, Middlebury College, 2019, https://sites.middlebury.edu/abenaki/storytelling-as-a-method-of-indigenization.
I'm very sorry, I accidentally uploaded this comment using an anonymous. I have re-uploaded it using my real name.
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ReplyDeleteThis module on Indigenous storytelling traditions and their intersection with digital technology has been an incredibly enriching experience for me. As someone who comes from an Indigenous background and has explored several other Indigenous cultures, I found it particularly fascinating to dive deeper into the ways oral histories, community-based knowledge sharing, and storytelling hold such profound cultural significance. Learning about these traditions through a critical lens allowed me to connect my own experiences with the broader frameworks presented in the readings, making this module both personally meaningful and intellectually stimulating.
ReplyDeleteOne aspect I truly enjoyed was exploring how modern digital platforms are being used to preserve, transform, and share Indigenous stories. Tekobbe (2024) highlights how Indigenous storytelling reflects unique ways of thinking and being, which resonated with me as I reflected on the oral traditions passed down in my own community. Similarly, Hausknecht et al. (2021) emphasize the power of intergenerational digital storytelling in sharing Indigenous knowledge, which made me think about how technology can bridge generational gaps while keeping our histories alive. It was eye-opening to see how tools like digital media can amplify voices that have historically been marginalized.
The focus on Indigenous voices in the digital space also stood out to me. I appreciated how the module examined the role of creators, media-makers, and activists in reclaiming and reshaping narratives. Mines (2019) discusses storytelling as a method of Indigenization, which struck a chord with me as I considered how my own cultural identity has been shaped by stories. Likewise, the concept of digital sovereignty, as explored by Cunsolo Willox et al. (2013), offered a powerful perspective on how Indigenous communities can resist colonial media structures and assert control over their own narratives. This idea of using technology to decolonize media felt both empowering and inspiring.
Overall, this module deepened my understanding of traditional Indigenous storytelling practices while challenging me to think critically about their evolution in the digital age. It also encouraged me to reflect on the ethical considerations of representation in new media, which I now see as essential to honoring Indigenous cultures authentically. I’m grateful for the opportunity to engage with these topics, as they not only expanded my knowledge but also reaffirmed the resilience and creativity of Indigenous communities—something I’ve always admired and felt connected to.
References
Cunsolo Willox, A., Harper, S. L., Edge, V. L., & ‘My Word’: Storytelling and Digital Media Lab. (2013). Digital storytelling as a method for promoting Indigenous oral wisdom. Qualitative Research, 13(2), 127–140.
Hausknecht, S., Vanchu-Orosco, M., & Kaufman, D. (2021). Sharing Indigenous knowledge through intergenerational digital storytelling. Educational Gerontology, 47(7), 285–298.
Mines, S. (2019). Storytelling as a method of Indigenization. Abenaki Language and Cultural Preservation. Middlebury College.
Tekobbe, C. (2024). Indigenous storytelling and ways of thinking and being. In Indigenous Voices in Digital Spaces. University Press of Colorado.
I’ve found the way Indigenous oral storytelling connects with technology really interesting, especially when thinking about how it helps preserve and express Chinese minority dialects.
ReplyDeleteFor Indigenous peoples, traditional oral storytelling is a crucial method of cultural transmission. Many of their customs, ways of knowing, and understanding of the land are not recorded in written form but are passed down orally (Hausknecht et al., 2021). Technology has provided an opportunity to preserve these cultures and languages (Hausknecht et al., 2021). Without modern technology to document these cultural elements through sound, images, and videos, the thoughts, individual, and collective experiences of Indigenous people may be lost over time. The Nak'azdli Whut'en community has also expressed their concern about the loss of original knowledge: “When the Elders pass away, they fear that the original knowledge will be lost” (Hausknecht et al., 2021).
In fact, Chinese minority dialects face similar concerns. The Oroqen people, one of China’s 56 ethnic groups, number around 8,000, and currently only those aged 40-59 are still able to speak some basic Oroqen dialect. Younger generations have lost the ability to communicate in their dialect (South China Morning Post, 2020). As the elderly (who hold knowledge of the Oroqen language) age, we must be concerned about the risk of cultural loss. Technology provides vital support to preserve this sound-based culture. Moreover, social media offers opportunities for these endangered cultures to be passed on and spread, allowing more people to learn about them. The combination of oral storytelling and modern technology not only ensures the preservation of this sound-based culture but also becomes one of the most important ways to expand its dissemination and amplify the voices of minority groups.
In the process of transmitting minority cultures, modern technology not only plays a role in dissemination but also carries attributes of decolonization, localization, and the pursuit of equal power (Mines, 2019). Storytelling and the sharing of stories are expressions of existence for these groups (Mines, 2019). Gupta and Trehan (2021) found that only 17% of biographies on the Wikipedia are about women. In this sense, women’s stories and their expressions are to some extent marginalized by modern technology. Gender inequality, in this context, may be further reinforced on technical levels such as big data and AI. The digital gender gap is real, profound, and has severe consequences (Gupta & Trehan, 2021). Minority groups must actively engage with and master modern technology to prevent further entrenchment of colonialism and inequality.
So, how can prevent technological tools from exacerbating these inequities? In the decolonization process, Sarah Mines (2019) presents a critical point: autonomy and the ability to control one’s own narrative are essential. This is because Indigenous and marginalized groups can reclaim their stories and history to empower themselves. Telling Indigenous stories is a sacred process and belongs to the original storytellers. We must not appropriate Indigenous works as our own. When sharing Indigenous stories and knowledge, this must only be done with permission, cultural immersion, and respect (Mines, 2019).
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DeleteReference:
DeleteCunsolo Willox, A., Harper, S. L., & Edge, V. L. (2013). Storytelling in a digital age: Digital storytelling as an emerging narrative method for preserving and promoting indigenous oral wisdom. Qualitative Research, 13(2), 127–147. https://doi.org/10.1177/1468794112446105
Gupta, S., & Trehan, K. (2021). Twitter reacts to absence of women on Wikipedia: a mixed-methods analysis of #VisibleWikiWomen campaign. Media Asia, 49(2), 130–154. https://doi-org.login.ezproxy.library.ualberta.ca/10.1080/01296612.2021.2003100
Hausknecht, S., Freeman, S., Martin, J., Nash, C., & Skinner, K. (2021). Sharing Indigenous Knowledge through intergenerational digital storytelling: Design of a workshop engaging Elders and youth. Educational Gerontology, 47(7), 285–296. https://doi-org.login.ezproxy.library.ualberta.ca/10.1080/03601277.2021.1927484
Mines, S. (2019). Storytelling as a method of indigenization. Abenaki Language and Cultural Preservation, Middlebury College. https://sites.middlebury.edu/abenaki/storytelling-as-a-method-of-indigenization
South China Morning Post. (2020, August 18). A unique language disappearing in modern China. YouTube. https://www.youtube.com/watch?v=BllTba5wjfM
The decolonial orientation of this module offers a crucial reminder that research is never neutral, especially when it involves Indigenous communities whose histories have long been shaped by extractive epistemologies. As Smith (1999) has argued, for many Indigenous peoples, the word “research” is deeply entangled with the legacy of colonial violence, surveillance, and erasure. This historical weight demands that researchers reconsider not only how knowledge is gathered, but how it is situated, shared, and made accountable to the communities it involves. In the context of qualitative inquiry, this means rejecting a purely observational stance and instead fostering reciprocal, respectful relationships.
ReplyDeleteThe potential of storytelling as a decolonial method lies in its capacity to foreground relationality. As Cunsolo Willox et al. (2012) suggest, digital storytelling is most meaningful when it emerges from within communities, carrying their voices, emotions, and worldviews without flattening them into data points. In this sense, stories function not as anecdotal supplements to theory but as theory in themselves—forms of knowing that resist colonial timelines and hierarchical knowledge structures. Tekobbe (2024) furthers this perspective by demonstrating how digital activism, when grounded in Indigenous rhetorical practices, can challenge settler-colonial narratives by centering survivance, self-location, and community voice. Her emphasis on “thick meaning” and embodied knowledge affirms that the digital sphere is not separate from Indigenous experience but an extension of lived, land-based knowledge systems.
Efforts to incorporate Elders into digital storytelling workshops also show that decolonizing methods need to attend to intergenerational continuities. As Hausknecht et al. (2021) show, these collaborations transmit traditional knowledge and reshape the research encounter into a space of community-making. The presence of Elders in classrooms, paired with students’ engagement in new media, opens up pedagogical spaces where land, language, and lived memory converge.
References
DeleteCunsolo Willox, A., Harper, S. L., Edge, V. L., Landman, K., Houle, K., & Ford, J. D. (2012). “Storytelling in a digital age: Digital storytelling as an emerging narrative method for preserving and promoting Indigenous oral wisdom.” Qualitative Research, 13(2), 127–147. https://doi.org/10.1177/1468794112446105
Gupta, S., & Trehan, K. (2021). “Twitter reacts to absence of women on Wikipedia: A mixed-methods analysis of #VisibleWikiWomen campaign.” Feminist Media Studies, 21(7), 1169–1187. https://doi.org/10.1080/14680777.2020.1819242
Guujaaw, L., MacDonald, M. L., & Rowell, T. (2020). “Sharing Indigenous knowledge through intergenerational digital storytelling: Design of a workshop engaging Elders and youth.” Interaction Design and Children (IDC '20), ACM. https://doi.org/10.1145/3392063.3394397
Hausknecht, S., Freeman, S., Martin, J., Nash, C., & Skinner, K. (2021). “Sharing Indigenous Knowledge through intergenerational digital storytelling: Design of a workshop engaging Elders and youth.” Educational Gerontology, 47(7), 285–296. https://doi.org/10.1080/03601277.2021.1927484
Tekobbe, C. (2024). Indigenous Voices in Digital Spaces. Utah State University Press. https://doi.org/10.7330/9781646426478
This module has expanded my understanding of how Indigenous storytelling traditions, rooted in oral histories and community-based knowledge sharing, serve not only as cultural transmission tools but also as acts of resistance. Tekobbe’s work on “Ways of Thinking and Being” underscores the importance of storytelling as a means of preserving history and worldview against colonial erasure (Tekobbe). This theme is directly mirrored in Telling Our Twisted Histories, a podcast that reclaims Indigenous language and narratives, using digital platforms to shift power from colonial institutions to Indigenous communities. The podcast exemplifies how new media can serve as both a method of survival and a powerful tool for decolonization, transforming traditional storytelling into a format that is accessible to global audiences (Horn).
ReplyDeleteOne of the most compelling aspects of the readings by Hausknecht et al. and Cunsolo Willox et al. was their exploration of intergenerational storytelling through digital means. As they highlight, digital platforms not only preserve knowledge but also ensure its continued circulation to future generations, allowing Indigenous communities to maintain sovereignty over their cultural narratives (Hausknecht et al.; Cunsolo Willox et al.). The podcast exemplifies this approach, as it provides a space for Indigenous voices to narrate their own histories without the distortion of colonial perspectives. As noted by Mines, reclaiming and indigenizing the digital space is a form of resistance to historical silencing and cultural erasure, and platforms like Telling Our Twisted Histories are essential for enabling Indigenous peoples to assert their stories on their own terms (Mines).
However, while digital sovereignty is empowering, the use of technology also presents challenges. The accessibility of the internet is still limited in some remote Indigenous communities, and digital platforms, though empowering, are also susceptible to appropriation and misrepresentation. The ethical concerns of misrepresentation are particularly pertinent in the context of Indigenous digital media. As discussed in the module’s readings, culturally responsible storytelling involves careful consideration of community guidelines and knowledge protocols to ensure that sacred or private knowledge is not exploited (Hausknecht et al.). Digital platforms must, therefore, be used with caution to avoid reinforcing stereotypes or allowing for the distortion of complex cultural narratives.
This module has also prompted me to critically examine the relationship between technology and decolonization. While technology offers an important avenue for Indigenous cultural resurgence, it remains essential to balance digital innovation with a commitment to maintaining the integrity of traditional storytelling practices. This intersection of old and new is where true digital sovereignty lies: in the ability of Indigenous communities to adapt technology to their needs, rather than having technology define how their stories are told.
Works Cited
Hausknecht, S., et al. "Sharing Indigenous Knowledge Through Intergenerational Digital Storytelling." Educational Gerontology, vol. 47, no. 7, 2021, pp. 572-582.
Horn, Kaniehti:io, host. Telling Our Twisted Histories. CBC Podcasts, 2021, https://www.cbc.ca/listen/cbc-podcasts/484-telling-our-twisted-histories.
Mines, Sara. "Storytelling as a Method of Indigenization." Abenaki Language and Cultural Preservation, Middlebury College, 2019, https://www.middlebury.edu/abenaki/storytelling.
Tekobbe, Cindy. “Indigenous Storytelling and Ways of Thinking and Being.” Indigenous Voices in Digital Spaces, University Press of Colorado, 2024.
Cunsolo Willox, A., et al. "Digital Storytelling as a Method for Promoting Indigenous Oral Wisdom." Qualitative Research, vol. 13, no. 2, 2013, pp. 151-167.
In many ways, the digital world is not that much different from the 'real' world. Despite the reduction of barriers, there is still a clear reflection of invisibility and suppression of certain identities. This is reinforced by one of the required readings, which references the general absence of women on Wikipedia. As mentioned, visibility is so integral, as it can become a strategic source of power and influence (Gupta & Trehan 2022). There are countless errors and purposeful misinformation that is spread on the internet, which is why things like media literacy are so important. To not immediately accept things as fact, but to dig deeper yourself. This is especially important when it comes to the concept of decolonizing the media. Colonialism has such deep roots within so many of our systems, as it has inevitably seeped into the cracks of our digital ecosystem as well. There is so much importance in listening to Indigenous storytelling, to listen from the source, from a group who's voices have historically been silenced for far too long. To integrate this storytelling into the digital space could sort of be a method of reclaiming the space, as there is lots of value in the digital aspect in today's world, especially in regards to preservation (Hausknecht et al., 2021)
ReplyDeleteReferences
Hausknecht, S., Freeman, S., Martin, J., Nash, C., & Skinner, K. (2021). Sharing Indigenous Knowledge through intergenerational digital storytelling: Design of a workshop engaging Elders and youth. Educational Gerontology, 47(7), 285–296. https://doi-org.login.ezproxy.library.ualberta.ca/10.1080/03601277.2021.1927484
Sneh Gupta & Kulveen Trehan (2022) Twitter reacts to absence of women on Wikipedia: a mixed-methods analysis of #VisibleWikiWomen campaign, Media Asia, 49:2, 130-154, DOI: 10.1080/01296612.2021.2003100
I found Module 8 very interesting as it pertains to the concept of Indigenous storytelling in relation to digital literacy and our evolving digital environment. Similarly to the discussion in Module 7 on Technobiophilia, this module demonstrates how digital technology can be utilized for the good of society. Module 8 particularly, showcases how digital technology can be employed to share traditional Indigenous narratives and create meaningful connections between indigenous elders and indigenous youth. A multitude of articles assigned in this module demonstrate this, however perhaps the most applicable one is “Sharing Indigenous Knowledge through intergenerational digital storytelling: Design of a workshop engaging Elders and youth”, written by Simone Hausknecht, Shannon Freeman, Jenny Martin, Carrie Nash, and Kelly Skinner (2021). This article explains how a digital storytelling workshop was created between Indigenous elders and youth in a First Nations community to create digital narratives and share Indigenous knowledge. In this workshop, The elders of the group explained their own personal stories, and knowledge, as well as local legends to the students, who then created digital narrations of this information, utilizing technological tools such as sound effects and images. This was extremely successful in that it not only brought Indigenous elders and youth together, but it also made these stories more permanent, and applicable to all those who wanted to learn about these narratives. As the authors state, In Indigenous communities, “elders play an important role within the community and contribute in meaningful ways by sharing their knowledge of language, place and culture. Previous research identified the importance of having positive role models from family and elders in Indigenous student educational success”. (Hausknecht, et al., 2021). Additionally, digital storytelling is a useful tool for students to demonstrate their understanding of Indigenous narratives and knowledge, as it gives them a sense of autonomy by giving them the opportunity to create their own narratives and identity within digital spaces.
ReplyDeleteFurthermore, by creating these digital narratives, this knowledge gains permanence and can be passed on to future generations through a digital landscape, rather than solely word of mouth. Overall, I found this article to be very informative on the importance of digital narratives in relation to Indigenous storytelling. Additionally, I found this module extremely enlightening and reflective of how digital storytelling can be used for the good of communities, and society in general.
Hausknecht, S., Freeman, S., Martin, J., Nash, C., & Skinner, K. (2021). Sharing Indigenous Knowledge through intergenerational digital storytelling: Design of a workshop engaging Elders and youth. Educational Gerontology, 47(7), 285–296. https://doi-org.login.ezproxy.library.ualberta.ca/10.1080/03601277.2021.1927484
I'd like to add a question to my blog post to furthur my undertanding on this narrative. Many people view the development of technology as a negative, however, this case study demonstrates the positive side of these technological developments! In what other ways can we flip the narrative and position the evolution of technology in a positive light, that can benefit us as a society?
DeleteThis module helped me rethink storytelling not just as a way of sharing information, but as a cultural practice connected to relationships, memory, and ways of knowing. I was especially interested in Tekobbe’s (2024) discussion of Indigenous storytelling as a way of thinking and being. It made me realize that storytelling is not only about content, but also about how knowledge is created and shared within a community. This idea is very different from Western narrative structures, which often focus on linear storytelling and individual perspectives.
ReplyDeleteI also found the readings on digital storytelling very meaningful, especially Willox et al. (2013). They show how digital media can help preserve Indigenous knowledge by recording voices and experiences, while also allowing stories to reach wider audiences. At the same time, digital platforms can change storytelling by placing it in new contexts where it can be viewed, shared, and interpreted in different ways. This connects to the idea of digital sovereignty, because Indigenous communities are using technology to represent themselves rather than being represented by outsiders.
Overall, this module helped me understand that Indigenous storytelling in digital spaces is not only about preservation, but also about transformation and resistance. It made me more aware of the ethical responsibility involved in sharing and engaging with these stories, especially in online environments.
However, this also raises questions about who controls these digital platforms and how Indigenous narratives may still be shaped or limited by systems that are not fully under Indigenous authority. This tension between visibility and control highlights the complexity of using digital media for Indigenous storytelling.
DeleteI loved reading both of your answers, particularly your explanation of the benefits of digital storytelling in the preservation of Indigenous knowledge and in intergenerational connections. I concur that the collaboration of Elders and youth via digital media is an effective method of preserving cultural continuity and the case with the workshop demonstrates clearly that storytelling can be both didactic and interpersonal.
DeleteBased on your arguments, I believe it is also necessary to assume how digital storytelling can transform the meaning of the old ones. Though digital technologies can be used to make stories more permanent and accessible, the traditional Indigenous storytelling is usually closely linked with particular locations, associations, and events. When these stories are published on the internet, some of that context might be lost. As an illustration, the viewers who are outside the community may perceive the stories differently or fail to understand their underlying cultural meaning.
I also found your mention of digital sovereignty very important. Although digital media gives Indigenous communities more opportunities to speak on their behalf, as you mentioned, these platforms remain in the control of larger systems. This generates a conflict between the visibility and control. In some ways, increased visibility can be empowering, but it may also expose stories to misinterpretation or appropriation.
This makes me think: how can Indigenous people strike the right balance between the advantages of telling stories online and the necessity to preserve the cultural knowledge and the original meaning of it?
Module 8 gave me a new sense of appreciation for storytelling in the digital age. It can be so easy to be clouded with thoughtless content while on the internet today but this module proved there was a positive to these digital storytelling methods that go further than just mindless entertainment. The indigenous peoples use of digital storytelling gives them the ability to pass on stories down the generations without relying on word of mouth like they have for generations. This evolution will allow for details to not be missed when relaying a story and can preserve it to its most true and accurate form for generations to come. It also allows for younger generations to see their elders physically telling these stories instead of just imagining them creating a sense of closer connection and authenticity. These readings made me think about how other important things can be preserved through the digital age that were once doomed to be lost in time. We always hear about how many indigenous languages are fading out due to older generations not teaching them to the younger ones, or younger generations simply not being interested in learning them. Through capturing these languages in videos or audio, we can preserve it and allow for it to never to be forgotten. Even if the language skips a generation, it is now still accessible to that indigenous group and even historians to look back on which I think is an amazing thing.
ReplyDeleteA vital part of Indigenous cultures is storytelling, and the digitalization of them feels natural as digital media becomes a major form of communication. I’m taken by the storytelling in Indigenous-led films that feel like a glimpse into the history and knowledge that is passed down by storytellers. Tekobbe fleshes out what Indigenous storytelling means that extends beyond how we may have previously understood it — for entertainment purposes. She explains “We tell stories for many reasons: as a way to convey history, as a method for teaching, as entertainment and ceremony, as creative work, as collaborative meaning-making, and for many more reasons” (Tekobbe 36). Thus, stories become a rich and nuanced means of communication that assert and protect culture and identity while unifying members through a common worldview.
ReplyDeleteI thought back to a course I took, Film Studies: Indigenous Women in Media, that exposed me to many stories about and produced by Indigenous women. In tandem with our module readings, Indigenous storytelling in film feels like a natural progression in our modern day, as it becomes a means of occupying space and preserving culture. Tekobbe explains “Indigenous meaning-making, with its fluidity and deep layering, can account for the breadth of engagement and collaboration that makes up the social experience” (42). Film is a medium that allows for fluidity, as creators have the liberty to build narratives through imagery, audio, non-linear sequences, etc. in order to differentiate from mainstream Hollywood film. In other words, film gives way to ‘fourth cinema’ in which Indigenous narratives are viewed through an Indigenous perspective, allowing core values to shine through (Vanstone and Winston). Vanstone and Winston give an example of how this is achieved: “The sparse variety of the visual track and the editing pace reflect a practice for which there is evidence of Indigenous preference” (233). Fourth cinema then becomes vital in order to be loyal to the ways of Indigenous storytelling. Tekobbe posits “Indigenous reality cannot reasonably be measured as western reality, primarily because knowing and knowledge are not settled, but also because knowings and knowledge are arrived at collaboratively” (40). We come to understand that to use the mainstream method of filmmaking to highlight Indigenous stories might not do the story justice, as it requires Indigenous perspective and understanding in order to receive it how it was intended.
Tekobbe, Cindy. Indigenous Voices in Digital Spaces Cindy Tekobbe, Utah State University Press, Logan, 2025.
Vanstone, Gail, and Brian Winston. “‘this would be scary to any other culture … but to us it’s so cute!’ the radicalism of fourth cinema from Tangata Whenua to Angry Inuk.” Studies in Documentary Film, vol. 13, no. 3, 2 Sept. 2019, pp. 233–249, https://doi.org/10.1080/17503280.2019.1672919.