Digital Stories Curator job

University of Glamorgan is hiring a Knowledge Catalyst Employee to help ‘create a raft of digital stories for use in the context of the new Museum of Cardiff the Cardiff Story’. Closing date 30 July 2009. Only people who graduated in the last four years are apparently elligible. Here’s the text of the job ad as sent in the email I just received:

Application details, can be found at: under ‘knowledge catalyst employee’
Knowledge Catalyst Employee
Digital Stories Curator
1 year contract, c.£19,000
Deadline:  30 July 2009
Further details available from: post is required to fulfill the conditions of an award by AHRC to support a Knowledge Catalyst research post (recent graduate) at the George Ewart Evans Centre for Storytelling ( University of Glamorgan) in collaboration with the new Cardiff Story (Cardiff Council’s new city history museum).
Please note:  Applicants must have gained a degree (any level) within the last 4 years to be eligible for this post.
Main purposes of job

  • Working with the University and Museum Project Team to establish a digital story collection
  • Creation and cataloguing of a minimum of 12 digital stories
  • To work with Valley’s communities to ensure their stories are represented


Principal responsibilities and duties1.         Proactively collect stories by working with individuals and community groups
2.       Working with partner organsiations – media, special interest groups, universities and other organisations to raise awareness of the project
3.        Collecting stories to ensure alternate viewpoints, hidden histories and the personal significance of object and story is recorded
4.         Undertaking research to ensure that the collection is specifically targeted with display potential, is rooted in academic rigour and provides suitable information for interpretation
5.         Ensure suitable documentation is in place regarding copyrights and permissions
6.         Equipping and enthusing community groups in the creation of their own digital stories
7.         Uploading stories recorded to related websites
8.         Cascade skills and knowledge to the project team
9.         Disseminate project outcomes to Museum profession and digital storytelling community
10.       Write evaluation reports for stakeholders and partners 

1. To participate actively in supporting the principles and practice of equality of opportunity as laid down in the partner organisations Equal Opportunities Policies.
2. To take reasonable care for the health and safety of yourself and other persons who may be affected by your acts or omissions and to comply with all health and safety legislation as appropriate.
3. As a term of your employment you may be required to undertake such other duties and/or times of work as may reasonably be required of you.Many thanks
Victoria Rogers MA AMA
Museum Officer  /  Swyddog Amgueddfa
The Cardiff Story /  Stori Caerdydd
The Old Library  /  Yr Hen Lyfrgell
The Hayes /  Yr Aes
Cardiff  /  Caerdydd CF10 1BH
Tel / Ffon :  029 2087 3197
Fax / Ffacs : 029 2023 0297
Email / Ebost:  /

Moving image archive meets personal story

Here’s more about how we worked with people who had stories to tell about what the heritage of the Rhondda Valleys in Wales  means to them in Valleys Kids’ Rhondda Lives project. This post follows a question from Cheryl Colan:

“…Did the individual storytellers work with and direct the video editor? If they spent only 2 hours doing so, I imagine the editor did a reasonable amount of preparatory work, getting clips to choose from lined up, prior to this work session?…”

There were many days of preparatory work in researching, finding, selecting, rights-clearing, digitising, etc. the clips. Lona Wharton and Gareth Morris did this at the BBC and Dafydd Pritchard did this at the National Screen and Sound Archive of Wales.

During the actual week of the workshop, before the individual two-hour sessions began, Katrina Kirkwood of Valleys Kids had spent time with each individual, showing what was available and logging individuals’ choices of which footage was relevant to their story.

Yes, in the initial BBC-facilitated workshop, we were lucky to be able to get BBC video editor Carwyn Jones to work with us. He’s a community-oriented, sympathetic, skilled, professional video editor. Because this was our pilot workshop, to reduce the number of variables, I decided that individual storytellers would work one-on-one with the editor. The storytellers actually took on the role of ‘director’ of their own movie.

Katrina developed the model throughout the life of Rhondda Lives and she sometimes encouraged storyteller to get a lot more hands-on, as far as the editing was concerned.

I think this model would work splendidly for Cheryl Colan’s local Historical Society Museum. Good luck if you decide to go for it.

Gulls on roof

Written and first published by Gareth Morlais on 15 July 2009

The ideal break-out space for your digital storytelling workshop

People will be working intensively together, maybe over a longish period. This can become quite claustrophobic if there are no break-out spaces available.

This space could just be a cafeteria, a foyer with seats or even an outside sitting area. It just needs to be somewhere for people to wander if they need some time alone or to take a break from the digital storytelling production.

This has been the fourth and final episode in a mini-series 🙂 of articles on about the ideal spaces for your digital storytelling workshop.

The ideal voice recording room for your digital storytelling workshop

This room needs to be very quiet indeed. Switch off any noisy lights, air conditioning, fans, clocks, computers, etc. The fewer echoes in the room the better;  safe clutter is good.

The voice-recording room needs to be available throughout the production workshop. It can be small – just big enough to accommodate three people,  recording equipment and microphone. May need to have power points, even if only to re-charge batteries / portable voice recorders.

This is the third in a mini-series of four articles on about the ideal spaces for your digital storytelling workshop. croissant and coffee

Written and first published by Gareth Morlais on 5 July 2009

The ideal production room for your digital storytelling workshop

This is where the digital stories will be made.  There needs to be enough space, tables, chairs to accommodate all the equipment and people. Power points along two sides of the room makes safe rigging easier. It’s good if it has natural light and ventilation but’s essential it can be made dark enough for images from the data projector to have impact. E.g. some kind of blinds or curtains for blackout.

If you’re running a workshop – as opposed to one-to-one – set the furniture out classroom style, in rows, facing the screen. Allow adequate space for the data projector to show from the back of the room. There also needs to be sufficient space in the room to accommodate additional equipment (scanners, printer, camera chargers, etc.) and to allow trainers to move comfortably between storytellers.

On different days, this main room may also be used for briefings, image capture and script sessions. If used for storycircle, up to 14 seats arranged in boardroom style seems to work well.

It may need to be locked and alarmed if equipment’s left overnight.

This is the second in a mini-series of four articles on about the ideal spaces for your digital storytelling workshop.

The Media Conte Kani team
The Media Conte Kani team

Written and first published by Gareth Morlais on 3 July 2009

New Rhondda Lives digital stories website

Katrina Kirkwood has just finished archiving the Rhondda Lives films on one fantastic new website: There are 80 stories to view.

The rationale behind the project is explained and there’s a description of how the stories were made.

I’m a member of the Museums 3.0 Ning group and I think that group’s members will really enjoy seeing such an innovative melding of existing public archive with personal storytelling by members of the communities depicted in  the archive.

I’m sure all the storytellers will be proud to have their stories displayed on Katrina’s new Rhondda Lives website. If you’d like a suggestion of one to watch first … how about this one: Lilian Hobbs’s story about the two-foot-eight?

(past posts here about Rhondda Lives)

The ideal venue for your digital storytelling workshop

This is the first in a mini-series of four articles on about the ideal spaces for your digital storytelling workshop.

Easy access for people with disabilities to all rooms is essential, including toilets and eating-places.
Also – there needs to be reasonable access and parking for the vehicle you’ll be get-in and get-out equipment. Ideally, parking close by for people driving to the workshop. If this is not possible, then people need to be informed of the nearest public car park. The venue should be accessible by public transport.

Here’s a cribsheet, a checklist of things to look out for when choosing your venue:

  • Nearby parking and public transport
  • Accessibility for wheelchairs with no trip hazards
  • Two large-enough rooms:
  1. main one undisturbed all day and able to be blacked out (made dark) with sufficient chairs and tables
  2. voice-recording room to be quiet with nice acoustic
  • Breakout space is nice to have too.
  • Security issues thought about
  • OK to leave your equipment overnight. (I.e. no basket-weaving class booked into venue in evenings)
  • Power points
  • Ask about cost of hiring venue and payment method
  • Catering – times and numbers of people for teas/coffees and meals.

Between the formal booking and arriving for first day…

  • you’ll need contact details for keyholder and make arrangements for unlocking and locking
  • specify seating layout and placement of tables
  • firm up any additional requirements like screen, flipchart, etc.
  • confirm catering arrangements: times, locations
  • think about extras like bottled water and glasses for storycircle
  • if you’re lucky enough to have a refreshments budget, ask the venue’s caterers about keeping a running tab at the restaurant till
Vulcan pub Cardiff
The Vulcan Pub in Cardiff, which has since been moved brick by brick to the St Fagan Folk Museum

Written and first published by Gareth Morlais on 1 July 2009

Coromandel Digital Stories, New Zealand

“It excites me that I can be part of this new age.  Words, pictures and music if anything can lift the sprite and engender enthusiasm” – Joan van Oosterom (87)

More than 70 Digital Stories have been produced since the project started in January 2008 by the Coromandel Community Digital Storytelling Project. It’s an initiative to record, preserve, and share the history and stories of the Coromandel community using Digital Storytelling. It’s all about creating lasting impressions.

Workshop equipment includes:

6 shuttle computers (20x20x30cm)
Adobe Premiere Elements software
Cano Scan 8800F scanner (scans slides and negatives as well as photographs and documents)
Projector & speakers
Sound recording equipment
Discovered via a presentation by Vanessa James.