Developing Knowledge About Cultural and Heritage Tourism Products Through Digital Story Telling

Introduction

Developing stories and teaching with stories about cultural and heritage products increasingly taking interest in academics. Stories resemble a variety of things. In the other words, storytelling is not a method, technique, or process. Storytelling is described as an art … the “art” of storytelling. In the background, heritage and cultural products can be narrative through storytelling as it is....present in interactive form, uses words, presents a story, and encourage imagination.

In addition, storytelling is present at any moment, in every position of civilization, in this most infinitesimal variety of ways, beginning with the very history of the human race and there is no one else without narrative.” (Barthes, 1993). While stories are now shifted from classroom to digital classroom.

Stories are common in the country like India for ages while digital stories are not so. Digital storytelling is a concise type of digital media creation that encourages teachers to express facets of their stories to develop cultural and heritage understanding. Digital Storytelling is the art of utilizing a computer or mobile-based application to convey tales in this digitized world. (Sherwood, G. 2020) suggested storytelling facilitates the educators to connect in novel conduct of eavesdrop and retort to individual accounts that converse what the erudition familiarity is like for scholars and with significance for them. However, storytelling is not a full-proof solution for making students express their views as generally it is intended for their storytelling. Research reveals that some of the students may not reveal their thoughts due to the presence of fear of consequences if sharing negative opinions over a topic of discussion or anxiety in them. Some teachers may also not find it useful for the evaluation of the students. This leads to gather the conclusion that none of the systems of pedagogies is flawless and so rigorous and continuous developments of new pedagogies are required.

In recent times, the rising focus has been paid to the teaching and appraisal of academics who integrate new technology into tourism. It is important in the higher education setting to understand and practice how “digital wisdom” can inform culture and heritage education (Prensky, 2012). A collection of accounts that illustrate the ability to emerge media to facilitate methodological guidance supplement these narratives (see, for example, Boschmann & Cubbon, 2014; Kwan, 2002; Strachan & Mitchell, 2014). Most of this concentrated on demonstrating the possibilities and obstacles to emerging technology for review (Sinton & Lund, 2007). Other reviews sought realistic advice and recommendations on how to best use new technology in higher education (France & Wakefield, 2011). It seems that it is a feeling that current students are usually “the accompanying switch to “digital”.

Before the pandemic, contemporary culture and heritage tourism education and field visits place increasing importance on guided critical reflection. Students on the old front are routinely encouraged to review and reposition their practice by reflecting (Harrison K.,2009) on their experiences. Taking into consideration the situation of the present digital era, this activity of storytelling can be safely explored digitally. The condition set everyone in the homes where teachers are training the students digitally about cultural and heritage products which foster conditions of both security and challenge. The Indian teachers offer students a “safe study digitally” to test out digital storytelling theories and begin the process of turning their field visit learning into digital learning with their academic learning.