Student Spot
Digital storytelling: A proposed creative therapeutic intervention for bereaved families
Adela Pakandlova
Digital storytelling is a qualitative visual research method that is becoming increasingly popular. It is based on collaboratively creating short digital movies conveying participants’ stories which can also be presented to the public, and represents not only a research method but also a beneficial therapeutic tool for both adults and children. Within the context of psychotherapy, digital storytelling has helped individuals to connect not only at an intrapersonal level, but also at an interpersonal level, and has been a valuable part of the healing process. Based on these promising findings, this article presents a proposed creative intervention for bereaved families based on digital storytelling together with a dance-movement activity. The steps are outlined, and the goal of this intervention is to help the bereaved to build resilience, to process their grief and to heal together as a community. The implications for practice are then discussed.
Introduction
Digital storytelling represents an arts visual research method which falls under the umbrella of qualitative research methods (Lambert, 2013). Qualitative research methods are known to be beneficial since they provide an opportunity for the researcher to explore the world as experienced through individuals’ lenses while also bringing attention to potentially sensitive topics which may still be unrecognised, misunderstood or stigmatised in society (Bailey et al., 2020). Creative arts-based research methods have been found to be beneficial for investigating sensitive topics such as bereavement and stigma in mental health (Vander Vaart et al., 2018). These methods offer a space for creative self-expression, reflection, and empowerment (Drebing et al., 2018). Also, creative arts-based research methods are found to be advantageous for community purposes (Vander Vaart et al., 2018).
Since digital storytelling is based on illustrating one’s story, it has been found to have a special place in the world of psychotherapy, which certainly offers a space for sharing stories about one’s journey (Drebing et al., 2018). Both, psychotherapy and digital storytelling are about conveying a story, however, in different forms (Drebing et al., 2018). While traditional psychotherapy focuses on verbal (as well as non-verbal) communication, digital storytelling represents a creative method, showing to have many therapeutic benefits (Yan et al., 2021). For instance, digital storytelling has helped individuals to become more self-aware, to connect with others through empathy, and to get in touch with their own emotional world (Keum et al., 2022; Rolbiecki et al., 2021).
Digital storytelling as a qualitative research method
Digital storytelling is based on creating short movies, usually between three to five minutes long (De Jager et al., 2017). The participants attend a workshop facilitated by the researcher to and adopt the required technical skills (De Jager et al., 2017). These skills enable each participant to create their own movie. The therapist or other mental health practitioner would ideally be present together with the researcher(s) to help the participants, in case of any distress which the process can bring (Lambert, 2013). When creating the digital stories, participants can include mementos, photographs, pictures, or any other art objects (McDonough & Colucci, 2021). The participants also choose the music and the name for the movie. These objects provide a tool to help the individuals open, present, and get closer to their inner world and their experience (Lang et al., 2019).
Digital storytelling has been found to be a beneficial method as participants have reported creating the stories to be inspiring, transformational, empowering, and informative (Pera & Viglia, 2016). For instance, McDonough & Colucci (2021) conducted a study with refugees who shared the experience of their mental health conditions. Participants reflected on digital storytelling as being a very valuable method; sharing their experience with other participants helped them to understand themselves on a deeper level while also developing some meaningful relationships (McDonough & Colucci, 2021). Further, the participants highly valued their experience to become more ‘visible’ in the form of a digital story (McDonough & Colucci, 2021). Another noteworthy finding emerged while using digital storytelling as participants reported creating movies helped them to communicate their emotions (Lang et al., 2019). Similarly, Cumming et al. (2010) found participants to described digital stories as very convenient as it helped them to incorporate experiences of their health condition, of which they felt ashamed of, into their lives. Furthermore, participants also shared that digital stories helped them with self-discovery; new aspects of their self emerged during this process (Stenhouse et al., 2012).
Moreover, digital storytelling is a collaborative approach which was found to be very useful for community development (Condy, 2015; Lambert, 2013). Since participants work together, sharing their experiences and their ideas, they create knowledge and hence new valuable insights (Lambert, 2013). These insights present an opportunity to bring the community closer; potentially creating new relationships and building resilience together while supporting each other (De Jager et al., 2017).
As evident, digital storytelling shows itself to be a very promising research method (De Vecchi et al., 2017). Not only is digital storytelling beneficial at the personal level, but it is also beneficial at the interpersonal level (Rieger et al., 2018). Participants have described creating new meaningful relationships as they bonded over the same or similar experiences. This is another noteworthy finding as often, resilience is associated with social support (Colucci et al., 2021; De Jager et al., 2017).
Digital storytelling in the context of psychotherapy
Digital storytelling is becoming increasingly popular and the connection between therapy and qualitative research methods can be seen (De Jager et al., 2017). For instance, digital storytelling as a qualitative research method has helped individuals to open and share their stories with others, connecting through empathy which they felt towards each other when becoming a part of a community (Lal et al., 2015). Interestingly, digital storytelling can play a role not only in research but also as a therapeutic method associated with better mental health (Lal et al., 2015). For example, Rolbiecki et al. (2021) looked at digital storytelling with bereaved families in which they talked about grief. Similarly, the bereaved depicted this method to help them to process some difficult emotions after the loss of a spouse (Chapman, 2022). Bereaved families highly valued digital storytelling as it was associated with personal growth, with individuals becoming closer to their experience and to themselves (Rolbiecki et al., 2021); as well as with their emotional world (Bosticco & Thompson, 2005). As discussed, digital storytelling has demonstrated it has therapeutic value, which is worth exploring within the context of psychotherapy.
Based on these findings, practitioners have shown curiosity around the potential role of digital storytelling in therapeutic settings. For instance, Drebing et al. (2018) proposed a therapeutic intervention called ‘I was there’ for individuals who went through trauma. Specifically, the participants were veterans who created a story about many different traumatic experiences – about sexual abuse, grief, suicide, and domestic abuse. Digital stories were presented not only to the group of participants, but also to the public and on the internet, with a goal to reduce stigma about mental health in the veteran community. Some individuals reported feeling ashamed of their traumatic experience; however, these participants described their feelings of shame to be transformed after the intervention as they heard other people sharing similar experiences (Drebing et al., 2018). This is a very promising finding since, especially for children, it may be very challenging to resolve feelings of shame after trauma (Anderson & Cook, 2015). This intervention was beneficial: the participants felt more empowered, stronger, and felt sense of belonging and feeling understood were also expressed (Drebing et al., 2018). Another noteworthy finding was that the digital storytelling intervention helped participants with processing traumatic memories. They described the process as ’going back in time’ where participants reminisced about their traumatic experience and were able to look at it from a different perspective and further, strong emotions were released (Drebing et al., 2018). This is in line with some traditional psychotherapy approaches: such as psychodynamic therapy and psychoanalysis, in which the individual revisits their past, finding themselves to be their younger self again, feeling all the powerful emotions which may have been hidden deep down for a long time, which is an important part of the healing process (Moodley & Stewart, 2010). Interestingly, some practitioners perceived this to be a rather negative aspect of digital storytelling as for some individuals, it was very triggering, and their strong emotional experience hindered the process of digital storytelling (Agarwal et al., 2022).
Additionally, both producing as well as watching digital stories, was found to be therapeutic (Sonday, 2021). Pordelan et al. (2022) looked at digital storytelling in the context of Rational Emotive Behaviour therapy (REBT). This therapy approach is based on helping individuals with cognitive distortions (such as jumping to conclusions, catastrophising and negative thinking patterns) and is widely used for treating anxiety and depression (Dryden, 2005). The therapist helps the client to understand the relationship between triggers and their emotional and behavioural responses (Dryden, 2005). Pordelan et al. (2022) created an online intervention for students who suffered from high levels of anxiety related to the COVID-19 pandemic. The intervention constituted of digital storytelling as well as of group discussions and group meetings with the therapist (Pordelan et al., 2022). The students found creating digital stories and discussing their mental health condition with others beneficial because, as they became closer to their emotional experience, it enhanced their self-awareness. Furthermore, they found the music included in digital stories to be calming and relaxing, hence helping to reduce their anxiety levels. This intervention showed itself to be innovative as it incorporated online methods of digital storytelling and therefore, it was easily accessible for students (Pordelan et al., 2022).
Similarly, Ofoegbu et al. (2020) conducted an intervention for adolescents who suffered from depression. This intervention again combined digital storytelling with REBT. The adolescents watched stories about other peoples’ experiences with depression; they observed individuals’ thinking patterns, emotional experience, and behaviours. After the screening, the participants attended brief discussions with a therapist and showed decreased levels of depression and a better quality of wellbeing. It enabled them to gain a better insight into their experience of depression and into how it affected their lives on a cognitive, emotional, and behavioural level (Ofoegbu et al., 2020). These findings are in line with Guardiano et al.’s (2019), who also found digital storytelling to be an effective part of therapeutic intervention with those suffering from depression.
Digital storytelling and its therapeutic power were also depicted in the study by Keum et al. (2022), where it helped the audience to accept and validate their own emotional experience. As the audience watched digital stories about depression, they empathised with the storytellers, and exhibited more self-compassion. Moreover, it helped them to consider seeking out counselling more than before watching the digital stories (Keum et al., 2022). This helps to illustrate the therapeutic value of digital storytelling not only for the creators, but also for those watching the digital stories.
Digital storytelling therapeutic intervention proposal; The circle of transformation
As a third-year student of the undergraduate BSc Psychology with Counselling Skills course, I developed a proposal for a community-based intervention for bereaved families for both, adults, and children, for one of my counselling assignments. The intervention was called ‘The circle of transformation; transforming grief through the power of dance’ and was based on a dance activity, to be evaluated using digital storytelling.
A dance activity was chosen, as dance movement therapy represents one of many creative therapies found to be very useful; its healing power has been recognised in mental health settings and when working with grief (Moffitt, 2018; Potash & Ho, 2014; Strassel et al., 2011). For instance, dance movement therapy was found to be helpful for the mind and body, which are both affected by the grieving process; in other words, embodied grief (Dominiguez, 2018).
The aim of the proposed intervention is to help the bereaved community to express and to work through their grieving process. It also aims to bring the community of bereaved closer, helping them to decrease their levels of loneliness. In other words, to also facilitate social inclusion since the grieving process is associated with feelings of isolation (Utz et al., 2014). The dance activity was also chosen to potentially help the bereaved to adopt some easily accessible and creative techniques to work with the overwhelming emotional experience which is associated with the grieving process.
The dance activity is based on authentic movement in a circle while using imagination. The formation of a circle, in other words, ‘Chacian circle’ as proposed by Marian Chace, was chosen as it represents a basic method in dance movement therapy and became very powerful (Boris, 2001; Karampoula & Panhofer, 2018). The circle represents a symbol of unity and is associated with a creation of a safe space in which individuals feel confident enough to share their experiences (Karampoula & Panhofer, 2018); creating a safe space is an important part of therapy (Dryden, 2005). The circle offers a space for mirroring (‘multiple mirroring’) which has been found to be very beneficial; individuals can connect through empathy, and can gain compassion and self-knowledge, hence facilitating the healing process (Karampoula & Panhofer, 2018).
The proposed intervention was based on four stages, divided chronologically according to different levels of distance from grief (low vs high). For instance, one of the stages of the intervention was for the bereaved to ‘dance out memories.’ One of the following stages is ‘honouring today.’ After going through each individual’s memories, they sit in a circle, reflecting on a previous activity. Then they are asked to stand up, to close their eyes and to hold their hands. Holding hands further enables a sense of intimacy within the group, thereby fostering a sense of community. The therapist helps individuals to honour their experiences, assuring them that what was expressed will stay in the safe space of their circle, the circle of their shared experience.
As a part of the counselling assignment, I proposed a method through which I would evaluate the effectiveness of the intervention: digital storytelling appealed to me as a suitable and beneficial method since it is often used with marginalised groups, such as the bereaved population, who feel excluded and disadvantaged while going through the grieving process; this exclusion is due to economic and social factors (Dixton et al., 2022). At the economic level, the bereaved can experience great financial struggle, especially if they are a single parent. In the social sphere, the bereaved often report high levels of debilitating loneliness as they feel misunderstood. Thus it is very important to help the bereaved to feel understood, to help them with the difficulties which arise after the loss of a loved one on many different levels (Wang & Hu, 2022).
As previously mentioned, digital storytelling is a therapeutic as well as a research method. This further supported my idea of using it with the bereaved population. Employing digital storytelling presented promising findings in the past (De Jager et al., 2017), and I believe that it would be a very useful tool for helping the community of the bereaved. Since bereavement is associated with great levels of loneliness, social interaction with other bereaved individuals could help them to feel less isolated. Further, sharing stories with other participants could help to normalise their feelings and to potentially feel a sense of belonging. The bereaved individuals would (briefly) describe their story of loss together, and share their experiences of the intervention (the dance activity) in their digital stories. The participants would be asked to reflect on what they found helpful and possibly, to also emphasise what they found challenging while undertaking the intervention. The digital stories would also aim to capture the (difficult) emotional experienced in the grieving process.
Digital stories would be created by the bereaved individuals together as a group with the possibility of including their children in the movie; this would allow both, bereaved parents and bereaved children, to have a voice about their experience; in other words, ‘family movies’ would be made. The community of bereaved would decide whether they want include any photos, objects and what type of music. Also, they would decide on the name of their movie. The groups would comprise of 14 participants as previous research found groups of up to 15 members to be effective (Colucci & McDonough, 2021; Drebing et al., 2018). Firstly, the individuals would undertake workshops in which the facilitators and professional filmmakers would teach them technical skills. Mental health practitioners would be there in every workshop to assist in case of any distress. Additionally, support people experienced in digital story making would be there to help if needed, for instance, experienced individuals would stay to supervise the children. Since this procedure includes both adults and children, counsellors with appropriate qualifications would be required for both groups. The process of digital storytelling creation would be according to the five-stage process proposed by Johnson (2015): 1) development, 2) pre-production, 3) production, 4) postproduction, and 5) exhibition.
The exhibition would consist of presenting the movies within the group of the bereaved, to other bereaved families that did not undertake the intervention, as well as to the wider public. For instance, the screening would be carried out in organisations supporting bereaved people and would also be presented on the internet. This could inspire other families to understand that a good life after the loss of a loved one is possible again; it could foster a sense of belonging; and hopefully, reduce stigma about bereavement in society. Moreover, one of the powerful changes which could occur in the community of bereaved is a greater sense of resilience.
Conclusion
The role of digital story-telling as a valuable research method and a therapeutic tool was discussed in this article. Since digital storytelling is used for community development purposes (Condy, 2015), the use of this with bereaved people could help them to grow and thrive together as a community, possibly building more resilience. Potentially, digital stories could help the bereaved to get in touch with grief as well as better understanding children’s grief. Since digital storytelling is a collaborative approach, new meaningful relationships or social networks could develop and thus, help with the debilitating loneliness which the grieving process can encompass (Utz et al., 2014). As evidence shows, losing a spouse or a parent in the case of children, is profoundly difficult and challenging on many different levels (Maccallum et al., 2015). Unfortunately, there is still stigma around grief and often, people feel misunderstood or excluded from society (Sprang & McNeil, 2018). Therefore, digital stories created by bereaved individuals could shed light on the experience of the grieving process. Further, the wider public could gain better insight into the hardship of being a single parent after the loss of a spouse. Potentially, practitioners could also further explore what it is that bereaved people value in the creation of digital storytelling and what, on the other hand, they found challenging. This examination could allow new interventions, new campaigns, and potentially wider changes necessary for the community of the bereaved which are not yet fully present in society to be made, thereby contributing to social change.
Correspondence
Adela Pakandlova
References
Anderson, K.M., & Cook, J.R. (2015). Challenges and opportunities of using digital storytelling as a trauma narrative intervention for traumatized children. Advances in Social Work, 16(1), 78-89. https://doi.org/10.18060/18132
Bosticco, C., & Thompson, T.L. (2005). Narratives and story telling in coping with grief and bereavement. OMEGA-Journal of Death and Dying, 51(1), 1-16.
Boris, R. (2001). The root of dance therapy: A consideration of movement, dancing, and verbalization vis-à-vis dance/movement therapy. Psychoanalytic Inquiry, 21(3), 356-367. https://doi.org/10.1080/07351692109348940
Chapman, K.Y. (2022). The use of therapeutic film making: Agnes Varda and Sophie Calle. Studies in European Cinema, 1-9. https://doi.org/10.1080/17411548.2022.2031805
Cumming G.P., Currie H.D., Moncur R., Lee A.J. (2010). Web-based survey on the effect of digital storytelling on empowering women to seek help for urogenital atrophy. Menopause International, 16, 51-55. https://doi.org/10.1258/mi.2010.010004
Condy, J. (2015). Telling stories differently: Engaging 21st century students through digital storytelling. AFRICAN SUN MeDIA.
De Jager, A., Fogarty, A., Tewson, A., Lenette, C., & Boydell, K.M. (2017). Digital storytelling in research: A systematic review. The Qualitative Report, 22(10), 2548-2582.
De Vecchi, N., Kenny, A., Dickson-Swift, V., & Kidd, S. (2017). Exploring the process of digital storytelling in mental health research: A process evaluation of consumer and clinician experiences. International Journal of Qualitative Methods, 16, 1-13. https://doi.org/10.1177/1609406917729291
Dominguez, K.M. (2018). Encountering disenfranchised grief: An investigation of the clinical lived experiences in dance/movement therapy. American Journal of Dance Therapy, 40(2), 254-276. https://doi.org/10.1007/s10465-018-9281-9
Drebing, C.E., Reilly, E., Henze, K.T., Kelly, M., Russo, A., Smolinsky, J., Gorman, J., & Penk, W. E. (2018). Using peer support groups to enhance community integration of veterans in transition. Psychological Services, 15(2), 135. https://doi.org/10.1037/ser0000178
Dryden, W. (2005). Rational Emotive Behavior Therapy. In K.S. Dobson (Ed.), Encyclopedia of Cognitive Behavior Therapy (pp. 321-324). Springer
Gaudiano, B A., Davis, C.H., Miller, I.W., & Uebelacker, L.A. (2019). Development of a storytelling video self-help intervention based on acceptance and commitment therapy for major depression: Open trial results. Behavior Modification, 43(1), 56-81. https://doi.org/10.1177/0145445517738932
Gehrmann, M., Dixon, S.D., Visser, V.S., & Griffin, M. (2020). Evaluating the outcomes for bereaved people supported by a community-based suicide bereavement service. Crisis: The Journal of Crisis Intervention and Suicide Prevention, 41(6), 437. https://doi.org/10.1027/0227-5910/a000658
Hammarberg, K., Kirkman, M., & de Lacey, S. (2016). Qualitative research methods: When to use them and how to judge them. Human Reproduction, 31(3), 498-501. https://doi.org/10.1093/humrep/dev334
Hennink, M., Hutter, I., & Bailey, A. (2020). Qualitative research methods. Sage.
Johnson, J.L. (2015). Vision, story, medicine: Therapeutic filmmaking and first nations communities. In J.L. Cohen, J.L. Johnson, & P. Orr (Eds.), Video and Filmmaking as Psychotherapy (pp. 73-84). Routledge
Karampoula, E., & Panhofer, H. (2018). The circle in dance movement therapy: A literature review. The Arts in Psychotherapy, 58, 27-32. https://doi.org/10.1016/j.aip.2018.02.004
Keum, B.T., Hearns, M., Agarwal, P., & Nguyen, M. (2021). Online digital storytelling video on promoting men’s intentions to seek counselling for depression: The role of empathy. International Journal of Social Psychiatry,68(7), 1363-1372. https://doi.org/10.1177/00207640211023532
Kübler-Ross, E., & Kessler, D. (2009). On grief and grieving. Simon & Schuster.
Lal, S., Donnelly, C., & Shin, J. (2015). Digital storytelling: An innovative tool for practice, education, and research. Occupational Therapy in Health Care, 29(1), 54-62. https://doi.org/10.3109/07380577.2014.958888
Lambert, J. (2013). Digital storytelling: Capturing lives, creating community. Routledge.
Lang, M., Laing, C., Moules, N., & Estefan, A. (2019). Words, camera, music, action: A methodology of digital storytelling in a health care setting. International Journal of Qualitative Methods, 18, 1-10. https://doi.org/10.1177/1609406919863241
Maccallum, F., Galatzer-Levy, I.R., & Bonanno, G.A. (2015). Trajectories of depression following spousal and child bereavement: A comparison of the heterogeneity in outcomes. Journal of Psychiatric Research, 69, 72-79. https://doi.org/10.1016/j.jpsychires.2015.07.017
McDonough, S., & Colucci, E. (2021). People of immigrant and refugee background sharing experiences of mental health recovery: Reflections and recommendations on using digital storytelling. Visual Communication, 20(1), 134-156. https://doi.org/10.1177/1470357218820651
Moodley, R., & Stewart, S. (2010). Integrating traditional healing practices into counselling and psychotherapy. Counselling Psychology Quarterly, 23(3), 239-240. https://psycnet.apa.org/doi/10.1080/09515070.2010.505731
Moffitt, A. (2018). A dance movement therapy warm up method in bereavement peer support groups for children. [Master’s thesis]. Lesley University.
Mnisi, T. (2015). Digital storytelling: Creating participatory space, addressing stigma, and enabling agency. Perspectives in Education, 33(4), 92-106.
Ofoegbu, T.O., Asogwa, U.D., Eseadi, C., Ogbonna, C.S., Eskay, M., Obiyo, N.O., … & Ogbuabor, S. E. (2021). Effect of rational digital storytelling intervention on depression among adolescent-athletes with Special Educational Needs. Journal of Rational-Emotive & Cognitive-Behavior Therapy, 39(2), 217-237. https://doi.org/10.1007/s10942-020-00366-z
Pera, R., & Viglia, G. (2016). Exploring how video digital storytelling builds relationship experiences. Psychology & Marketing, 33(12), 1142-1150. https://doi.org/10.1002/mar.20951
Potash, J.S., & Ho, R.T. (2014). Expressive therapies for bereavement: The state of the arts. In B.E. Thompson & R.A. Neimeyer (Eds.), Grief and the Expressive Arts (pp. 28-32). Routledge.
Rieger, K.L., West, C.H., Kenny, A., Chooniedass, R., Demczuk, L., Mitchell, K.M., Chateau, J., & Scott, S.D. (2018). Digital storytelling as a method in health research: A systematic review protocol. Systematic Reviews, 7(1), 1-7. https://doi.org/10.1186/s13643-018-0704-y
Rolbiecki, A.J., Washington, K.T., & Bitsicas, K. (2021). Digital storytelling as an intervention for bereaved family members. OMEGA-Journal of Death and Dying, 82(4), 570-586. https://doi.org/10.1177%2F0030222819825513
Sonday, A. (2021). Digital storytelling as a reflective tool in occupational therapy curriculum. Occupational Therapy International, 2021, 1-10. https://doi.org/10.1155/2021/2463916
Stenhouse, R., Tait, J., Hardy, P., & Sumner, T. (2013). Dangling conversations: Reflections on the process of creating digital stories during a workshop with people with early‐stage dementia. Journal of Psychiatric and Mental Health Nursing, 20(2), 134-141. https://doi.org/10.1111/j.1365-2850.2012.01900.x
Strassel, J.K., Cherkin, D.C., Steuten, L., Sherman, K.J., & Vrijhoef, H.J. (2011). A systematic review of the evidence for the effectiveness of dance therapy. Alternative Therapies in Health & Medicine, 17(3), 50-59.
Sprang, G., & McNeil, J. (2018). The many faces of bereavement: The nature and treatment of natural, traumatic, and stigmatized grief. Routledge.
Tuval-Mashiach, R., Patton, B.W., & Drebing, C. (2018). “When you make a movie, and you see your story there, you can hold it”: Qualitative exploration of collaborative filmmaking as a therapeutic tool for veterans. Frontiers in Psychology, 9, 1954. https://doi.org/10.3389/fpsyg.2018.01954
Utz, R.L., Swenson, K.L., Caserta, M., Lund, D., & DeVries, B. (2014). Feeling lonely versus being alone: Loneliness and social support among recently bereaved persons. Journals of Gerontology Series B: Psychological Sciences and Social Sciences, 69(1), 85-94. https://doi.org/10.1093%2Fgeronb%2Fgbt075
Van der Vaart, G., van Hoven, B., & Huigen, P.P. (2018). Creative and arts-based research methods in academic research. Lessons from a participatory research project in the Netherlands. Forum Qualitative Sozialforschung/Forum: Qualitative Social Research, 19(2). https://doi.org/10.17169/fqs-19.2.2961
Wang, N., & Hu, Q. (2022). Loneliness trajectories: Evidence for staged intervention among Chinese bereaved parents. Journal of Applied Gerontology, 41(1), 134-141. https://doi.org/10.1177/0733464820978808
Yan, T., Lang, M., Kyomuhangi, T., Naggayi, B., Kabakyenga, J., William, W., … & Brenner, J.L. (2021). Let all know: Insights from a digital storytelling facilitator training in Uganda. Global Health Action, 14(1), 1933786. https://doi.org/10.1080%2F16549716.2021.1933786
adela's community 