Digital Storytelling For Cross-Cultural Communication In Global ...

Digital Storytelling For Cross-Cultural Communication In Global Networking
Patricia Search

Abstract
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
In Beyond Culture (1976) Hall identifies context as an
Global networking eliminates geographic distances
important cultural dimension in intercultural
and facilitates communication with different cultural
communication. In high-context societies (e.g., Asian
groups. The Internet presents an opportunity to
and indigenous cultures), meaning is derived from the
highlight cultural differences and promote an
context of a particular event or situation. Messages are
understanding and awareness of diverse cultural
fluid because the interpretatio n depends on the current
perspectives. For many years researchers have
situation and personal relationships. In low-context
recognized the role that cultural differences play in
societies (e.g., Western cultures) people rely heavily on
intercultural communication. More recently,
verbal communication and messages with fixed
researchers have recognized the significance of this
meanings.
research in user interface design. Cult ural differences
Hofstede (1980) conducted research on intercultural
in interface design extend beyond the cultural meaning
communication at IBM from 1968 to 1972. In his
of symbols, colors, data (time, date, currency) formats,
research he created indices to rank societies according
etc. User interface designs can also reflect underlying
to the following five cultural dimensions:

social structures that define how individuals and
• Power Distance: the degree of equality or
organizations interact and communicate with each
inequality that exists between people in a
other. The research of Edward Hall (1959, 1973, 1976),
society.
Geert Hofstede (1980), Harry Triandis (1995), and

• Individualism: the extent to which society
Aaron Marcus (2005) provides important background
values individual achievement or group
information for understanding how cultural differences
achievement (collectivism).
impact intercultural communication in interface design.

Hall, the “founder of intercultural communication,”
• Uncertainty Avoidance: the extent to which
defines three important cultural dimensions that impact
people tolerate uncertainty or ambiguity.

interpersonal relationships and communication—time,
• Long-Term Orientation: the extent that a
space, and context. In Silent Language (1959, 1973)
society focuses on long-term goals and
Hall describes two non-verbal aspects of intercultural
tradition.

communication: time (chronemics) and space
• Masculinity: the extent to which a culture
(proxemics). He points out that cultures are
adheres to traditional masculine models of
characterized by either monochronic or polychronic
achievement, control, and power (a high
time. Monochronic time is evident in Western cultures
masculinity ranking indicates a culture with
where time is perceived as a linear sequence of events
significant gender differentiation).
with determinant connections between past, present,

and future. People in these cultures prefer to focus on
Triandis (1995) reaffirms Hofstede’s research on the
one task at a time. Asian, Middle Eastern, and
importance of individualism and collectivism as
indigenous cultures are characterized by non-linear,
cultural dimensions of intercultural communication. He
polychronic time which emphasizes simultaneous
shows how individualism and collectivism are
actions and events. Hall also identifies the role that
integrated into Hofstede’s concept of power distance.
space (proxemics) plays in defining relationships in
Gould (2005) summarizes his research as follows:
different cultures. He points out that in addition to the
To Triandis, Horizontal (low power
formal designations of space created by physical and
distance) individualism deals with the power
architectural forms, there are informal spatial
to define and pursue personal goals, while
relationships defined by the proximity and arrangement
Vertical (high power distance) individualism
of objects, events, and people. These relationships
leads to competition and accomplishment.
determine status, relationships, and group orientation.
Horizontal collectivism deals with

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interdependence and sharing while Vertical
that ran from 1996-7 (Te Puni Kokiri Publication,
collectivism deals with service and social
2004). Quoting one of the APTN board members,
mores. (p. 97)
Catherine Martin, Baltruschat (2004) notes the
Marcus (2005) shows how a computer interface
significance of new media technology for storytelling:
design can reflect Hofstede’s cultural dimensions. The
“The media is a powerful tool to help our nations heal
chart in Figure 1 summarizes his interpretation of the
and bring understanding through the telling of our own
cultural dimensions of interface design based on
stories” (p. 5). Baltruschat (2004) also quotes Dana
Hofstede’s research.
Claxton, producer of one of the APTN children’s
The application of intercultural communication
programs, on the importance of an Aboriginal peoples
theory to website design can improve communication
network: “The mainstream media can never tell our
in global networking. In addition to the research cited,
stories. They can try, but in terms of really knowing the
digital storytelling presents an opportunity to expand
interior of a culture, it’s got to be the people who speak
the cultural dimensions of interface design by
for themselves” (p. 6).
introducing a design element that engages the audience
Indigenous communities walk a fine line between
and helps users understand different cultures.
their traditional cultures and dominant Western

cultures. Niezen (2005) notes that this condition is
Digital Storytelling
“sometimes awkwardly referred to as ‘bi-culturalism,’
Stories create engaging experiences that transport the
a state of ‘in-betweenness,’ or a condition of
audience to another space and time. Stories establish a
‘diaspora,’ but with the added poignancy and
sense of community and identity. For these reasons,
complexity that arise from their cultural positions at the
storytelling is a powerful design element that can
opposite poles of human experience” (p. 3). Indigenous
enhance global networking by increasing the awareness
television networks provide an opportunity to inform
and understanding of cultural differences.
other cultural groups, including dominant Western
Storytelling is an integral part of indigenous cultures.
cultures, about indigenous cultural values. Indigenous
For centuries indigenous peoples have used stories and
peoples have learned how to bridge cultural
images (beginning with early petroglyphs) to
differences. The programs on the APTN blend
communicate historical events and cultural traditions. It
“traditional forms of storytelling with contemporary
is no surprise that indigenous peoples have found
genre adapted from mainstream media” (Baltruschat,
creative ways to use new media technology to tell their
2004, p. 4). Referring to a cultural affairs program
stories. Leuthold (1998) concludes that indigenous
produced by the Inuit Broadcasting Corporation,
peoples have a history of incorporating technical
Madden points out that indigenous peoples know how
innovations into their cultures as a means of survival in
to “retain one’s cultural identity while dealing with
harsh environments. Silko notes that “Europeans were
people who do not share it” (as cited in Leuthold, 1998,
shocked at the speed and ease with which Native
p. 74).
Americans synthesized, then incorporated, what was
Computer technology has given indigenous peoples
alien and new” (as cited in Leuthold, 1998, p. 74).
the opportunity to strengthen their voices in a society
Indigenous peoples began using film and video to
dominated by economic powers. They use global
preserve cultural identity and improve cross-cultural
networking to create online communities that establish
communication. The Alaska Native Heritage Project
an international presence which, in turn, preserves their
and the Video in the Villages Project (in South
cultural heritage and creates a strong sense of identity.
America) documented native cultures. Canada has
Computer networking enables them to reshape the
taken the lead in the use of mass media for Aboriginal
“status hierarchies, resistance strategies, and
communication and networking. The first Aboriginal
conceptions of collective self of many so called
broadcasting company, the Alberta Native
traditional societies” (Niezen, 2005, p. 2). Indigenous
Communications Society (ANCS) was formed in the
groups began using the Internet to form collective
1960s (Rupert, 1983). In 1980 the Inuit Broadcasting
communities in the late 1990s (Neizen, 2005). Since
Corporation (IBC) was established. In 2000 the
then they have learned how to merge cultural traditions
Aboriginal Peoples Television Network (APTN), the
like storytelling into powerful website designs that
first Aboriginal television network in the world, was
create an effective platform for cross-cultural
formed. Baltruschat (2004) points out that the APTN
communication.
has become a model for other indigenous groups
Digital storytelling provides an opportunity to merge
throughout the world, including the Maori of New
the traditional art of storytelling with interactive
Zealand who launched the Maori Television Service in
technology and create cultural narratives that immerse
2004. This service followed the creation of the
the audience in a new cultural experience. An
Aotearoa Maori Television Network, a pilot service
interesting website that uses storytelling for this

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Figure 1
Aaron Marcus Applies Hofstede’s Cultural Dimensions To Interface Design


1
Hofstede’s Cultural Dimension

Interface Design Characteristics



High Power Distance
Formal organization; emphasis on government or
corporate objectives; images of buildings, leaders,
and symbols of authority.
e.g., University of Technology in Malaysia website
http://www.utm.my



Low Power Distance
Informal structure and navigation; images of people
and groups; focus on activities.
e.g., Skidmore College website
http://www.skidmore.edu



High Individualism
Images of individuals; customizable interfaces;
overall emphasis on individual choices and goals.
e.g., Amtrak Railway website
http://www.amtrak.com



Low Individualism (Collectivism)
Images of organizations; official messages that
emphasize group efforts; fixed interface options.
e.g., East Japan Railway website
http://www.jreast.co.jp/e



High Uncertainty Avoidance
Formal structure; familiar references; precise detail;
explicit communication.
e.g., Coca-Cola in Africa website
http://www.africa.coca-cola.com



Low Uncertainty Avoidance
Unusual design; exploration; abstraction and
ambiguity.
e.g., Pepsi website
http://www.pepsi.com



Focus on tradition and social responsibility;
High Long-Term Orientation
emphasis on long-term commitments.
e.g., East Japan Railway website (see above)



Low Long-Term Orientation
Emphasis on immediate actions or results; task or
action-oriented objectives.
e.g., Amtrak Railway website (see above)



High Masculinity
Fast-paced graphics; bright colors; loud, fast music
or sounds.
e.g., McDonald’s website for Austria
http://www.mcdonalds.at



Low Masculinity (Feminity)
Curved edges in lines and graphics; soft colors and
music or sounds.
e.g., McDonald’s website for Sweden
http://www.mcdonalds.se


1 All the websites are the author’s examples (not those of Aaron Marcus) except the McDonald’s website examples
from Austria and Sweden. These sites were cited by Marcus and Baumgartner (2004) as examples of the masculinity
cultural dimension.

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purpose is Us Mob located at <http://usmob.com.au>.
from tourists who are driving through the desert. After
Us Mob is a website about the Australian Aboriginal
reluctantly giving the children something to drink, the
culture. While the target audience is children, the
tourists close the car window and proceed to take
website is engaging for other age levels because it
photographs of the children through the window. These
effectively communicates the cultural differences and
cultural boundaries are echoed in the children’s
socioeconomic boundaries between Aboriginal culture
scrapbooks where they talk about the white man’s
and the dominant white Western culture in Australia.
ways. One child states that he doesn’t like to talk to
The website uses different forms of narrative to engage
tourists because they don’t understand his native
the user. Videos show Aboriginal children participating
language, and they make him feel “shame” when he
in various activities. The children in the videos act as
speaks improper English. Such cultural boundaries are
the narrators, and they invite visitors to the website into
poignantly expressed throughout the website.
their communities. They speak directly to the users,
An interesting website that incorporates a different
and engage them in their thoughts and emotions. In
type of cultural narrative is Ashes and Snow located at
some cases, the user may choose what actions the
<http://www.ashesandsnow.org>. This website
children should take in a particular situation, resulting
showcases the work of award -winning Canadian
in different outcomes for the stories. The user can look
photographer Gregory Colbert. Colbert visualizes a
through scrapbooks that belong to some of the children.
culture that emphasizes the close relationship between
The scrapbooks , which contain images and comments,
humans and animals. In Ashes and Snow, digital
are updated with additional information as the user
technology presents an opportunity to create a different
moves through the website and selects videos of the
type of audiovisual narrative that results in an
children participating in new activities. These
immersive cultural experience for the user. Visual
scrapbooks include comments that express the
anthropologist Roderick Coover (2001) believes an
children’s personal feelings about their relationships to
audience should experience a culture through different
family and friends. The children’s comments are both
forms of sensory input. A montage of images, text,
written and spoken. The voices add an expressive
sound, rhythm, action, light, and color can create a
quality to the personal feelings that help the user
holistic, multi-sensory environment that suggests a
identify with the children. The scrapbooks also include
particular cultural experience and leaves the viewer to
close-up photographs of family members and friends as
interpret the relationships and cultural values. A very
well as hand-drawn sketches . These design elements
good example of this design concept is found in Ashes
create an immersive environment and enable the user
and Snow. This website presents a particular cultural
to relate to the narrator’s experiences.
perspective, the interrelationship between humans and
Children from all over the world can upload their
animals. To enter this site, you must first select either
own stories. They comment on the website and share
the enhanced or basic Experience. The word
personal narratives. These narratives reinforce the
Experience sets the tone for the site. Upon entering the
concepts in the website and help the children relate to
site, the first screen presents a traditional interface
new cultural experiences through online discussion.
design—a list of links for navigation. This traditional
The website is a unique approach to communicating
design disappears when you select the Explore link.
cultural differences to a global audience. The website
The cultural experience begins here as you leave your
creates a community of participants . The significance
present world and enter an ethereal, sensory space. The
of “community” involvement is reflected in the email
Explore section features photographic compositions of
address its elf: community@usmob.com.au. The
people and wild animals (elephants, cheetahs,
discussions create a bridge that helps the visitors relate
monkeys, birds, whales, etc.). The photographs are
Aboriginal cultural perspectives to their own lives.
staged poses of humans and animals in close proximity
The Us Mob website celebrates and preserves the
that visualize an integrated, dependent relationship. In
identity of the Aboriginal culture. It does not attempt to
addition to the photographic images, there are poetic
blend or merge different cultures. The site highlights
reflections in text and voice overlays. Moving the
cultural differences and the cultural and social
mouse over the screen creates a trail of thumbnail
boundaries between cultures. The interface design
images that fade in and out of view—emphasizing the
visualizes these boundaries. To enter the site, a user
concept of integration and continuity. These images
must apply for a permit, just as a visitor to an
link to other audiovisual essays. This navigation design
Aboriginal community must apply for a permit. In
differs from traditional interface designs because the
addition, the videos are displayed in a “window” that
links are not in static positions on the screen. The
appears in an illustration of a rock wall. The visual
viewer becomes an integral part of an interactive,
message is clearly one of cultural differences and
cultural experience that is created by a holistic, multi-
boundaries. These boundaries also appear in one of the
sensory environment. The user must form the
videos where some Aboriginal children ask for water
connections and experience the cultural narrative on an

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emotional and intuitive level. The intuitive nature of
importance of teaching students how to apply
this narrative space leads the viewer to accept the
knowledge in various contexts so they can transfer
audiovisual information without conscious, critical
information from the classroom to everyday life.
analysis. The viewer is quickly suspended in another
Stories are a good application for information transfer
cultural space.
because narratives help students relate general
In Ashes and Snow the first person perspective in the
principles to specific contexts and personal experiences
voiceovers is an important dimension that adds to the
(Edelson, 1993). By sharing stories, students use
viewer engagement. The voice establishes immediacy
personal narratives to create a community of users who
and reality in a space that defies stability. The
learn from each other’s experiences.
dreamlike space is flexible and fragmented, but at the
Stories also play an important role in business and
same time it is an integrated, immersive experience.
marketing. Businesses determine what new products or
This website design is a very good example of Hall’s
services to develop by creating detailed stories that
definition of high-context communication where
outline the user’s tasks or activities (Gruen, Rauch,
messages are fluid, and connections are based on the
Redpath, & Ruettinger, 2002). Corporations also use
current moment and context. The presentation of the
storytelling to improve organizational communication,
information in the Explore section supports the concept
motivate workers, instill corporate values, foster
of fluid messages. Because the viewer must form the
collaboration, and build brand identity (Denning,
connections between the audiovisual elements, the
2005). The latter concept is especially important in
website immerses the viewer in the cultural narrative.
marketing. Advertisers use narratives to build trust in
The viewer must feel and experience the relationships
products. They communicate to target audiences
the photographer is conveying—not just read about
through stories that describe experiences the audience
them.
can relate to. Sharing stories is also an important aspect

of marketing. Users discuss personal experiences in
Conclusion
online forums and product reviews. These stories help
Research shows that intercultural communication
consumers match their needs to a particular product or
theory is an important dimension in website design. We
service.
can expand the foundational work of Hall, Hofstede,
Digital technology presents an opportunity to use
Triandis, and Marcus by using digital storytelling to
storytelling in website design to build online
communicate cultural perspectives to local and global
communities of users . These users may share cultural
audiences. Storytelling is an effective communication
traditions, or they may share similar experiences or
technique that creates a sense of community and
interests in education, business, or marketing. In global
identity for users who have similar perspectives ,
networking, digital storytelling can be powerful design
experiences, or interests.
element that improves cross-cultural communication.
The art of storytelling was perfected by the
Storytelling is a new dimension in interface design that
indigenous peoples of the world who still use
extends beyond established research in intercultural
storytelling to communicate ancestral stories and
communication theory. Because narratives enable users
cultural traditions. These groups now use digital
to relate ideas and events to personal experiences,
storytelling to create a sense of community that
stories create a sense of engagement, identity, and
preserves their cultural heritage. Indigenous peoples
community that helps users understand cultural
also know how to use new media technology to
differences.
communicate to other cultural groups and bridge

cultural differences . As Leuthold (1998) points out,
Acknowledgement
“Native cultures’ adoption of new communications
I would like to thank Paul Booth, Ph.D. student in
technology reflects efforts at self-determination but
the Communication and Rhetoric at Rensselaer
also at intercultural communication—of educating the
Polytechnic Institute, for locating some of the
wider community about contemporary Indian life” (p.
references for this research.
74). Indigenous peoples can teach us how to use

storytelling to improve cross-cultural communication
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