Digital Storytelling For Cross-Cultural Communication In Global Networking

In global networking the human-computer interface is the crucial communication link between the author and the user. In website design it is important to recognize cultural differences and understand how the design of the computer interface can reflect the culture of a particular audience. Digital storytelling is a design technique that can reflect cultural differences and engage the user. Modern technology creates opportunities to use storytelling to inform diverse audiences about cultural differences. This paper presents research in intercultural communication theory and shows how storytelling can improve cross-cultural communication in global networking. Intercultural Communication Global networking eliminates geographic distances and facilitates communication with different cultural groups. The Internet presents an opportunity to highlight cultural differences and promote an understanding and awareness of diverse cultural perspectives. For many years researchers have recognized the role that cultural differences play in intercultural communication. More recently, researchers have recognized the significance of this research in user interface design. Cultural differences in interface design extend beyond the cultural meaning of symbols, colors, data (time, date, currency) formats, etc. User interface designs can also reflect underlying social structures that define how individuals and organizations interact and communicate with each other. The research of Edward Hall (1959, 1973, 1976), Geert Hofstede (1980), Harry Triandis (1995), and Aaron Marcus (2005) provides important background information for understanding how cultural differences impact intercultural communication in interface design. Hall, the “founder of intercultural communication,” defines three important cultural dimensions that impact interpersonal relationships and communication—time, space, and context. In Silent Language (1959, 1973) Hall describes two non-verbal aspects of intercultural communication: time (chronemics) and space (proxemics). He points out that cultures are characterized by either monochronic or polychronic time. Monochronic time is evident in Western cultures where time is perceived as a linear sequence of events with determinant connections between past, present, and future. People in these cultures prefer to focus on one task at a time. Asian, Middle Eastern, and indigenous cultures are characterized by non-linear, polychronic time which emphasizes simultaneous actions and events. Hall also identifies the role that space (proxemics) plays in defining relationships in different cultures. He points out that in addition to the formal designations of space created by physical and architectural forms, there are informal spatial relationships defined by the proximity and arrangement of objects, events, and people. These relationships determine status, relationships, and group orientation. In Beyond Culture (1976) Hall identifies context as an important cultural dimension in intercultural communication. In high-context societies (e.g., Asian and indigenous cultures), meaning is derived from the context of a particular event or situation. Messages are fluid because the interpretation depends on the current situation and personal relationships. In low-context societies (e.g., Western cultures) people rely heavily on verbal communication and messages with fixed meanings. Hofstede (1980) conducted research on intercultural communication at IBM from 1968 to 1972. In his research he created indices to rank societies according to the following five cultural dimensions: • Power Distance: the degree of equality or inequality that exists between people in a society. • Individualism: the extent to which society values individual achievement or group achievement (collectivism). • Uncertainty Avoidance: the extent to which people tolerate uncertainty or ambiguity. • Long-Term Orientation: the extent that a society focuses on long-term goals and tradition. • Masculinity: the extent to which a culture adheres to traditional masculine models of achievement, control, and power (a high masculinity ranking indicates a culture with significant gender differentiation). Triandis (1995) reaffirms Hofstede’s research on the importance of individualism and collectivism as cultural dimensions of intercultural communication. He shows how individualism and collectivism are integrated into Hofstede’s concept of power distance. Gould (2005) summarizes his research as follows: To Triandis, Horizontal (low power distance) individualism deals with the power to define and pursue personal goals, while Vertical (high power distance) individualism leads to competition and accomplishment. Horizontal collectivism deals with interdependence and sharing while Vertical collectivism deals with service and social mores. (p. 97) Marcus (2005) shows how a computer interface design can reflect Hofstede’s cultural dimensions. The chart in Figure 1 summarizes his interpretation of the cultural dimensions of interface design based on Hofstede’s research. The application of intercultural communication theory to website design can improve communication in global networking. In addition to the research cited, digital storytelling presents an opportunity to expand the cultural dimensions of interface design by introducing a design element that engages the audience and helps users understand different cultures. Digital Storytelling Stories create engaging experiences that transport the audience to another space and time. Stories establish a sense of community and identity. For these reasons, storytelling is a powerful design element that can enhance global networking by increasing the awareness and understanding of cultural differences. Storytelling is an integral part of indigenous cultures. For centuries indigenous peoples have used stories and images (beginning with early petroglyphs) to communicate historical events and cultural traditions. It is no surprise that indigenous peoples have found creative ways to use new media technology to tell their stories. Leuthold (1998) concludes that indigenous peoples have a history of incorporating technical innovations into their cultures as a means of survival in harsh environments. Silko notes that “Europeans were shocked at the speed and ease with which Native Americans synthesized, then incorporated, what was alien and new” (as cited in Leuthold, 1998, p. 74). Indigenous peoples began using film and video to preserve cultural identity and improve cross-cultural communication. The Alaska Native Heritage Project and the Video in the Villages Project (in South America) documented native cultures. Canada has taken the lead in the use of mass media for Aboriginal communication and networking. The first Aboriginal broadcasting company, the Alberta Native Communications Society (ANCS) was formed in the 1960s (Rupert, 1983). In 1980 the Inuit Broadcasting Corporation (IBC) was established. In 2000 the Aboriginal Peoples Television Network (APTN), the first Aboriginal television network in the world, was formed. Baltruschat (2004) points out that the APTN has become a model for other indigenous groups throughout the world, including the Maori of New Zealand who launched the Maori Television Service in 2004. This service followed the creation of the Aotearoa Maori Television Network, a pilot service that ran from 1996-7 (Te Puni Kokiri Publication, 2004). Quoting one of the APTN board members, Catherine Martin, Baltruschat (2004) notes the significance of new media technology for storytelling: “The media is a powerful tool to help our nations heal and bring understanding through the telling of our own stories” (p. 5). Baltruschat (2004) also quotes Dana Claxton, producer of one of the APTN children’s programs, on the importance of an Aboriginal peoples network: “The mainstream media can never tell our stories. They can try, but in terms of really knowing the interior of a culture, it’s got to be the people who speak for themselves” (p. 6). Indigenous communities walk a fine line between their traditional cultures and dominant Western cultures. Niezen (2005) notes that this condition is “sometimes awkwardly referred to as ‘bi-culturalism,’ a state of ‘in-betweenness,’ or a condition of ‘diaspora,’ but with the added poignancy and complexity that arise from their cultural positions at the opposite poles of human experience” (p. 3). Indigenous television networks provide an opportunity to inform other cultural groups, including dominant Western cultures, about indigenous cultural values. Indigenous peoples have learned how to bridge cultural differences. The programs on the APTN blend “traditional forms of storytelling with contemporary genre adapted from mainstream media” (Baltruschat, 2004, p. 4). Referring to a cultural affairs program produced by the Inuit Broadcasting Corporation, Madden points out that indigenous peoples know how to “retain one’s cultural identity while dealing with people who do not share it” (as cited in Leuthold, 1998, p. 74). Computer technology has given indigenous peoples the opportunity to strengthen their voices in a society dominated by economic powers. They use global networking to create online communities that establish an international presence which, in turn, preserves their cultural heritage and creates a strong sense of identity. Computer networking enables them to reshape the “status hierarchies, resistance strategies, and conceptions of collective self of many so called traditional societies” (Niezen, 2005, p. 2). Indigenous groups began using the Internet to form collective communities in the late 1990s (Neizen, 2005). Since then they have learned how to merge cultural traditions like storytelling into powerful website designs that create an effective platform for cross-cultural communication. Digital storytelling provides an opportunity to merge the traditional art of storytelling with interactive techn