Self-Representation and Decolonial Learning in Library Makerspaces: Indigenous Digital Storytelling

This paper explores how Indigenous digital storytelling (DST) can be used as a mode for self-representation and decolonial learning in library makerspaces. DST involves expressing your lived experiences and stories through a dynamic combination of textual and digital literacies. Implementing Indigenous DST programs allows library makerspaces to show the value of technology, digital and visual literacy, Indigenous Storytelling, and Ways of Knowing while letting Indigenous Peoples represent themselves and their lived experiences. Literature shows that creating and implementing Indigenous-centered DST programs helps decolonize makerspace programming. This literature review finds connections between the values of Indigenous Storytelling and DST and explores how Indigenous Peoples have used DST. Examining how libraries have used DST and Indigenous Storytelling so far, this paper addresses how a combination of these two practices can be adopted by library makerspaces.

As a non-Indigenous person, the author of this paper would like to acknowledge this work took place on Treaty 6 Territory and Métis Region 4. She recognizes the responsibility to respect Indigenous Ways of Knowing throughout her work and is committed to the ongoing learning of this process.
This literature review addresses the following questions: • Where are the intersections between Indigenous Storytelling and DST?
• What are the key ideas and benefits of both forms?
• How can libraries create and provide DST programming that helps Indigenous Peoples tell their stories?
• How can libraries contribute to DST goals of teaching relationality and selfrepresentation?
Using integrative literature review methods, the connection between values of Indigenous Storytelling and DST are made evident. This paper examine how Indigenous

Peoples have used DST and what libraries have done to support DST and Indigenous
Storytelling to identify if and how DST practices can be adopted by libraries for use in makerspaces. It is important to acknowledge that "Indigenous Peoples" encompasses various and distinct groups of Peoples. Library programming should reflect and celebrate these distinctions within the local communities that they serve.
This literature review demonstrates that libraries should create and implement Indigenous-centered DST programs

What is Digital Storytelling?
The standard model for DST is created by the Center for Digital Storytelling, which hosts three-day workshops where people gather, brainstorm, write their stories, record voiceovers, find music and visuals, edit their videos, and share them with the group (Alexander, 2017). The storyteller's words and voice are the centerpiece of DST.
The process involves expressing lived experiences and stories through a dynamic combination of textual and digital literacies. Couldry (2008) explains that DST can be considered a political act. Digital stories are democratizing because they are created "outside the boundaries of mainstream media institutions" (p. 386) and can make an impact on public knowledge about an issue when distributed widely. Today, alternative outlets for media, such as social networking websites, provide increased access and familiarity for people to create, share, and discover stories. Stories shared through this format can "increase[e] understanding across generations, ethnicities and other divides" (p. 387).

Digital Storytelling and Indigenous Storytelling
Storytelling is deeply important to Indigenous Peoples-it is how Indigenous Peoples pass on traditions and values to their families and communities (Archibald, 2012). Insights and reflections from lived experiences are sources of "fundamental and important Indigenous knowledge" (Archibald, 2012, p. 7). Christensen et al.'s (2018) book on Indigenous Storytelling, Activating the Heart: Storytelling, Knowledge Sharing, and Relationship, discusses how storytelling is a significant method of knowledge sharing. Storytelling can be a political act when it is used in new spaces because it "can provide a counter-narrative" to dominant political discourses (p. 170).
DST has technical similarities to Indigenous Storytelling, including multimodality (the mixing of different materials and forms) and the focus on voice. DST has key departures from traditional oral storytelling, including being recorded and preserved in a digital format, a pressure to keep things short for online attention spans, standardization of online video styles, and lack of control over desired (or undesired) audiences (Couldry, 2008). However, sharing Indigenous stories online is not wholly incongruent to the traditions of oral storytelling. Iske and Moore (2011) explain that Indigenous storytellers have always adapted to engage listeners (e.g. providing extra context for new listeners). It may be viewed as a different way to share stories with a wider community (Mills et al., 2016). Hopkins (2006) describes how oral traditions are thought to be unchanging, but stories do change and are dynamic from community to community-Indigenous DST is an extension of this tradition. DST is one way to continue the tradition of Indigenous Storytelling and teach it to new audiences. Fletcher and Mullet (2016) found that DST workshops are effective for communities who are used to learning through oral storytelling traditions. DST will not be everyone's choice method for storytelling, but as Archibald (2012) explains, for Indigenous Peoples "to understand ourselves and our situation today, we must know where we come from and know what has influenced us" (p. 7). DST is a way to keep these practices alive for future generations and is particularly influential for children who are used to learning with technology and digital media. Teaching DST through an Indigenous lens helps challenge mainstream discourses about Indigenous Peoples and introduces nondominant forms of knowledge creation and sharing to people (Emberley, 2014).

Indigenous Digital Storytelling
Indigenous Storytelling in the DST format can be referred to as Indigenous DST. This paper does not use an exact definition of Indigenous DST as there is no consensus. Instead, Indigenous DST covers all the ways that DST can be Indigenouscentered, whether it is through content (e.g. Indigenous Peoples telling their stories and sharing their culture) or through technique (e.g. learning about DST alongside the tenets of Indigenous Storytelling and Ways of Knowing). Christensen et al. (2018) call for storytelling that "activates the heart", which means to center "emotion, relationships, reciprocity, recognition, and justice" throughout the process-this applies to tellers, Indigenous students as Indigenous learning and knowledge incorporates various modes of information (e.g. dance, song, painting). DST focuses on this type of literacy as it centres and values the different ways people can create meaning, whether it is through music choice, visual literacy, or how they vocally perform their story. Henzi (2018) explains that reclaiming Indigenous spaces with new artistic venues and expression "is to give up the belief of powerlessness, to shed the status of the silenced and oppressed, and to learn how to subvert" (p. 72). Stories about Indigenous topics can be told and understood from new, personal-driven perspectives, which can be powerful and inspiring, instead of victimizing or othering. Storytelling, in its many forms, allows Indigenous Peoples to define their own understandings and feelings about their culture, spaces, and people.

Testimony and Witnessing
Testimonies are supplemental narratives to traumatic events. While not a requirement of DST, testimonial digital stories have powerful effects on creators and viewers. Indigenous digital stories can give truth to historical or traumatic events by digitally documenting one's account of them. Emberly (2014) describes how testimonies allow Indigenous Peoples to recollect an event and actively "refuse to be reduced to a silent murmur" (p. 2). Indigenous Peoples use storytelling practices for productive change. In Iseke's (2011) example of testimony, Cree/Métis Elder Alma Desjarlais ' videos were forms of recovery and healing from colonial history. Testimonial stories aim to unsettle the dominant narrative by hearing the truth from Indigenous perspectives.
These acts are transformative and difficult. Indigenous Storytellers may choose to honour their histories through carrying on these storytelling traditions from this personal experience.
The power in DST lies not only in its creation, but the way people can view it. Christensen et al. (2018) describe the dual importance of storytelling for the creator and viewer. The viewing of a story turns into a "mode of reciprocity, through the expression of one's gratitude, experiences, and love" (p. 176). The sharing of stories in a public sphere, such as online websites, allows for multiple understandings to be created.
When implementing DST in libraries, it is important to consider how the viewing of a digital story will impact the creator and audience, especially when they deal with difficult and painful subjects. For some libraries, the goal is not just the creation of stories but to share them. If a library uses their platform to this aim, they are encouraging their viewers to "allow the understanding of someone else's life to interrupt [their] own life" (Iseke, 2011, p. 312). With videos, viewers are directly called to witness these histories and recognize the truth of them. When more people view these stories, the historical narratives that erase Indigenous voices and perspectives are disrupted.

Digital Storytelling as Self-Representation
A common thread on Indigenous DST is the value of Indigenous Peoples representing their own stories in ways they choose, as to not be subjected as the 'other. 'With Indigenous DST, Indigenous Peoples have agency and control in their representation of self, instead of being "other people's culturally romanticized or stereotyped" image (Mills et al., 2016, p. 13 for. This creates an appropriate opportunity for libraries to support this work by offering help with space, resources, technology expertise, and literacy knowledge. Self-representation and agency are important aspects of DST as the process is largely individual-driven, from narrative writing to editing. In fact, some argue that digital stories should solely be authored, filmed, and edited by the storyteller. Raimist (2019) states that each storyteller is "the agent of crafting her own digital story" (p. 4). The goal is for the storyteller's voice to be heard in every aspect of the final product through their choice of images, music, and sounds. With DST's multimodality, individuals can tell their versions and understandings of stories, communicated not just through words but

Digital Storytelling for Decolonial Learning
DST is a significant learning method for non-Indigenous educators and students.
By incorporating arts-based inquiry, constructivist learning, and digital literacy, DST is a powerful tool for teaching non-Indigenous people about Indigenous Ways of Knowing.
DST is a transformative learning experience that is immersive and complex and allows students to explore their ideas while challenging their existing beliefs, biases, and positionalities. According to Czarnecki (2009) Bissell and Korteweg (2016) Sunderland et al. (2020) found that social work students were transformed by a DST project. Students noted how the process caused discomfort when "realizing the lack of visibility and valuing" of Indigenous Peoples and cultures for the first time, but they recognized this as valuable to understanding and building better relationships (p. 495). Each iteration of an Indigenous DST project or program is an opportunity for educators and librarians to reflect on how Indigenous education can be improved by the hands-on, personal experience of creating and listening to digital stories.

Libraries and Digital Storytelling Capacity
Storytelling is a traditional aspect of library programming and despite its lengthy process, DST is a worthwhile endeavor. Taking storytelling seriously "builds necessary 61 ties between community and academia to engender a space for broader, nonoppressive education models" (Christensen et al., 2018, p. xi Libraries can help patrons develop the digital literacy skills to use multimedia in their videos, e.g., scanning photos, filming original footage, downloading copyright-free images from online, or other makerspace-based experimentation. Further, Bissell and Korteweg's (2016) study found that digital technology is responsive and flexible enough for representing one's self through DST. Incorporating technology into library storytelling is a great option for programming that aims to engage emotions and personal, introspective learning.
For educators who feel they do not have the knowledge and experience to teach Indigenous Ways of Knowing or Storytelling, DST education helps them "reframe their relationship with Indigenous peoples and cultures in a more relational manner by emphasizing a shared narrative of humanity and braided history" (Bissell & Korteweg, 2016, pp. 4-5), as opposed to teaching Indigenous Peoples about their own culture.
Indigenous DST programs also help balance existing library programming. As Christensen et al. (2018)

Digital Literacy
The technology involved in DST is not as intimidating as it seems. Hildebrandt et al.'s (2016) study shows that children as young as eight years old can use technology like iPads to create videos with their own voice and images. One of Fletcher and Mullet's (2016) DST project's aims was to "de-mystify the university" (p. 185). In the same vein, DST programming can serve to 'de-mystify 'libraries and create a welcoming space where patrons can play with equipment. DST learning creates an "environment for sense-making and knowledge construction through the development of multimediaenriched narratives" (Hildebrandt et al., 2016, p. 20). Helping people understand and critique the daily images they see is an invaluable skill that naturally fits into makerspace learning goals.
Like all forms of storytelling, DST teaches crucial literacy skills, including how to be a good listener. Eglinton et al. (2017) describe the multiplicity of voices being heard through DST as "a democratic space that connected youth and their communities…where youth voices and concerns could be taken seriously in those conversations impacting their lives" (p. 17). In the Center for Digital Storytelling model, participants usually share their videos to all other participants at the end of the program.
In DST programming, patrons should be encouraged to listen and engage with stories.
Alongside creating stories, participants should learn to listen with compassion and take others 'personal narratives seriously. This helps libraries meet the goals of incorporating and privileging Indigenous Ways of Knowing and Storytelling more fully.

Makerspace Philosophies
When including Indigenous DST in library makerspaces, it is important to consider how the makerspace philosophy connects to the ideas of Storytelling and Ways of Knowing. Wardrip et al. (2017) provide a suggested framework for how to best support learning in makerspaces that encapsulates the makerspace philosophy.
This framework recommends that libraries think about how their makerspace aligns with the larger goals of the library, such as 21 st century skills, building resilience, and providing "positive, social and creative atmosphere[s]" (p. 13). Wardrip et al. state that "people matter most" (p. 6). In makerspaces, patrons should feel empowered to lead their own learning experiences.
Adding Indigenous DST to makerspace programming is one approach meeting makerspace goals such as building collaboration, fostering creative expression or knowledge sharing. As makerspaces are self-driven learning spaces, DST helps people build upon their strengths and learn new ones through collaboration. Understanding Indigenous practices such as storytelling makes patrons better makers. By having a richer understanding of the history of storytelling and how it impacts different people, making can become a meaningful activity. Winter and Boudreau (2018)

Indigenous Approaches to Makerspace Learning
It is possible to connect makerspace philosophies to Indigenous Ways of Knowing and Storytelling. Indigenous topics should be implemented in makerspaces more often as they can open "possibilities for Indigenous forms of learning and being that cultivate and enact Indigenous presences" (Barajas-Lopez & Bang, 2018, p. 7).
Barajas-Lopez and Bang's study about a storytelling-based clay work makerspace program shows that giving patrons hands-on experiences teaches them about the multiplicity of how stories can be told (oral, through materials, relationally, etc.). While STEM programs are often framed neutrally and with western conceptions of success (e.g. messages about how STEM skills are necessary for the future workforce), making media is not apolitical nor neutral, and should not be framed as such (Tzou et al., 2019).
Acknowledging that media creation is political and valuing these political perspectives as forms of knowledge, make the makerspace more accepting of different forms of knowledge creation and knowing. Tzou et al. (2019) provides a framework for a makerspace storytelling programming with decolonizing aims. They created the program, TechTales, to approach storytelling through STEM-Art design projects (mixed media dioramas). Tzou et al propose that STEM programs focused on storytelling and making helps "remediate historically powered paradigms between Indigenous and Western knowledge systems" (p. 307). Their participants created projects that taught lessons about nature and the Land and provide accurate representation of Indigenous knowledge. During this process, participants navigated between Indigenous knowledge, "Western science and engineering knowledge systems, and family-based knowledge systems" (p. 320). This example shows the value of makerspaces when they teach people to use technology for diverse, meaningful, and respectful purposes. People do not have to keep their personal, familial, or spiritual beliefs out of their technology practices. Similarly, Vossoughi et al. (2016) argue that it is important to move beyond the "narrow focus on STEM by foregrounding the multidisciplinary development of ideas as interwoven with the development of social relations" (p. 226). Focusing on the values inherent in Indigenous DST, including centering the social, political, and personal in the making experience helps expand the definition of what makerspaces are for.
The value of community is emphasized in makerspaces and Indigenous DST.
Iseke and Moore (2011) point to the importance of keeping DST within the community.
In one of their projects, students interviewed Indigenous community members to create videos about forests in their region of Nova Scotia. They found that the DST process "reflected the shared experience of the community members and centered the community as the site of power" (p. 26). Makerspaces provide a space for a community to come together and make things together and Indigenous DST provides a way for people to share their stories with their community.

Considerations
Creating a digital story is often an emotion, personal, and transformative experience, which makes people vulnerable throughout the process. Castleden et al.
(2018) reminds us that "creating safe and supportive spaces is integral to transformative learning" (p. 494). Strong bonds can be created through shared experiences of DST projects and these relationships should be nurtured. Castleden et al. (2018)

Conclusion
Using literature review methods, this paper discovered that Indigenous Storytelling and DST share many qualities, including multimodality and focus on the human voice. Indigenous DST can be viewed as an extension to the tradition of Indigenous Storytelling. Research revealed that Indigenous DST has positive transformative powers for storytellers and viewers. This paper found that makerspaces are the most valuable when they can teach people the boundless potential that technology has, including going beyond Western ideas of success, ownership, and STEM. Library technology can be used for educating a community together or for one's own understanding and exploration of self.