# A Workshop of a Digital Kamishibai System for Children and Analysis of Children's Works

Masataka Murata, Keita Ushida, Yoshie Abe, Qiu Chen

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Masataka Murata, Keita Ushida, Yoshie Abe, Qiu Chen. A Workshop of a Digital Kamishibai System for Children and Analysis of Children's Works. IFIP World Conference on Computers in Education (WCCE), Aug 2022, Hiroshima, Japan. pp.51-56, 10.1007/978-3-031-43393-1_6. hal-05533345

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# A Workshop of a Digital *Kamishibai* System for Children and Analysis of Children's Works

Masataka Murata<fnref n="1" /> ID, Keita Ushida<fnref n="2" />(✉) ID, Yoshie Abe<fnref n="2" /> ID, and Qiu Chen<fnref n="2" /> ID

**Abstract.** The authors have developed a digital *kamishibai* system, for authoring and performing *kamishibai* is said to have good educational effects on children. The system is implemented so that even children can operate it easily. The characteristics of the system are authoring with drag-and-drop operation and performance with ad-lib animation. Through the experiment, the authors made sure that children over six years old could handle the system. In this paper, the authors carried out a workshop in which children authored and performed digital *kamishibai*. Forty-eight groups participated. From the questionnaire, both children and their parents were mostly favorable to the system. The effects mentioned above were observed. Through the workshop, various *kamishibai* works were made. The authors showed these works to a staff of a children's hall (an expert of *kamishibai*) and had review them. He pointed out children's comprehension of stories, characteristics and style of representation, and structures and originality of the works. One of the future works is a detailed analysis of the works.

**Keywords:** Picture Story · Kamishibai · Storytelling

## 1 Introduction

It has been said that making and telling a story by children themselves is effective for education [1]. However, it has rarely been practiced. Although there are several digitally-supported systems for story making and telling for education are found [2–4], the target users of these systems are teachers and educators, not children.

The authors focused on *kamishibai*, one of the storytelling styles in Japan, and have developed a digitally-supported *kamishibai* system [5]. It is carefully implemented in terms of usability so that even children can author and perform *kamishibai*. Its interface is simple, and the users can author *kamishibai* by combining picture materials with drag-and-drop operations. The system also has functions for performing *kamishibai*. In addition to conventional performance, the user can move the characters on the canvas ad-lib (without prior settings) with touch operation. This feature is unique for digital-supported systems. The authors carried out a pilot experiment to evaluate the usability of the system [6]. Children over the age of six were able to handle the system without

<footnote n="1">¹ Digital Arts Inc., 1-5-1 Otemachi, Chiyoda-ku, Tokyo, Japan</footnote>

<footnote n="2">² Kogakuin University, 1-24-2 Nishi-shinjuku, Shinjuku-ku, Tokyo, Japan
{ushida, Abeyoshie, chen}@cc.kogakuin.ac.jp</footnote>
difficulty. And, the effects of children's authoring and performing *kamishibai* mentioned
in [1] were observed.

In this paper, the authors report on a digital *kamishibai* workshop for children and
an analysis of the *kamishibai* works.

2 A Digital *Kamishibai* Workshop for Children

## 2.1 Overview of the Workshop

The authors carried out a digital *kamishibai* workshop as a part of a science educa-
tion event for children. The workshop aimed to investigate the behavior of the par-
ticipants (children) and to collect their works for analysis. The children participated
in the workshop in groups of one to four. Each group authored and performed digital
*kamishibai*.

The total time for authoring and performing *kamishibai* was 50 min. The authors prepared two stories for the theme of *kamishibai: Cinderella* and *Urashima Taro*. The authors collected picture materials related to the stories beforehand so that the participants could use the materials instantly and so that the time for authoring could be saved. Each group chooses a theme from the two stories. After authoring and performing *kamishibai*, one child from each group and his/her parent answered a questionnaire.

Forty-eight groups participated in the workshop.

## 2.2 Questionnaire for Children

**Profiles of the Participants.** The age range of the respondents was 2–12 years. The average was 8.3, and the median was 9. The ratio of males to females was 6:4.

In terms of computer experience, about 60% of the respondents used PCs less than once a month, while about half of the respondents used tablets or smartphones more than ten times a month. This indicates that the participants were familiar with and could handle them, but that they were not so familiar with PCs.

In terms of experience with *kamishibai*, 76% of the respondents had seen *kamishibai* performance.

**About the Kamishibai System and Participants' Works.** About half of the respon-
dents answered that it was easy to both author and perform *kamishibai* with the system.
About 60% of the respondents answered that they were able to author *kamishibai* as they
desired. Respondents over the age of five tended to be favorably impressed. This ten-
dency is thought to be the same as that observed in [6], along with the fact that children
over the age of six were able to use the *kamishibai* system easily.

Over 70% of the respondents answered that they wanted more time to author *kamishibai*. Although the participants would be able to author more satisfying *kamishibai* with more time, too much time might decrease children's concentration (the 50 min was set based on a school hour).

The respondent's comments were mostly positive. Many of them responded that the workshop was interesting. Other comments included the following: I was able
to author my favorite *kamishibai*. I was able to make an original (different from the given theme) story. I was satisfied that I was able to handle a computer well. However, some respondents commented that they did not have enough time (the same as in the questionnaire).

## 2.3 Participants at the Workshop

The participants' approach to the work was different depending on whether the group consisted of one person or more.

**Groups of Multiple Children.** In authoring, they discussed the content of the *kamishibai* and exchanged ideas. Some parents joined the discussion and commented. In some groups, they changed the main creator for each page. In other groups, one of the members operated the PC and the others gave their opinions on the work.

In performing, almost all the participants animated the characters on the canvas with touch operation. This function was naturally accepted by the participants. In detail, three main performance styles were observed. 1) Performance with storytelling. In this case, in some groups, one child was the storyteller and animator, and in the other groups, one child was the storyteller and others were the animators. In the latter case, active collaboration and communication among the participants were observed. 2) Performance with sound effects (without storytelling). In this case, the participants animated the characters collaboratively. 3) Silent performance. In this case, in most groups, the parents asked the children about the situation they performed. Active communication between children and parents was observed.

**Groups of One Child.** In authoring, some were obsessed with their work. Some enjoyed authoring with talking with their parents. In performing, their performance style was mostly like 3) described above.

**Issues in Infant Participants' Operation.** In the digital *kamishibai* system, a mouse is mainly used for authoring, while touch operation is used for performing. Infant (under six years old) participants tended to author *kamishibai* with touch operation (unsupported, however). This would result in the impression that infant participants had difficulty in operation. To improve operability for infants, authoring with touch operation should also be supported.

**Summary of Participants' Behavior.** Most of the participants enjoyed the workshop. Every group continued to make *kamishibai* after the time was up. This is consistent with the responses to the questionnaire described above. Overall, also in this workshop, the effects of making and telling stories by children mentioned in [1] (communication is promoted and various works are created) were also observed in this workshop.

## 2.4 Questionnaire for Parents

In the questionnaire for the parents, more than half of them answered that both authoring and performing (digital) *kamishibai* were good for the education of children.
The parents' comments included the following: It was easy to use and allowed for trial-and-error, because of the advantages of computers. It would be more creative than just reading books. The children seemed to enjoy considering the structure of the story to compose scenes.

Overall, the parents seemed to believe that digital *kamishibai* would provide valuable experiences for children. Some parents wanted the system to be more expressive.

## 3 Review of *Kamishibai* Works

The authors had the staff of children's hall review the *kamishibai* works authored in the workshop described in Sect. 2.

The staff of children's halls often perform *kamishibai*. Therefore, they are well informed not only about *kamishibai* performance but also about *kamishibai* works. The authors showed the staff of children's hall the *kamishibai* works and the video recording of the workshop and had them review the works.

**Stories of the Work.** Children were able to reorganize the story into *kamishibai*. In some works, the details of the story were modified. For example, in Fig. 1, *Urashima Taro* was not a man but an octopus. However, the climax of the story was expressed in almost all the works. In the works by older children, the detail of the story was also represented.

<figure><img src="image_4.png" /><figcaption>Fig. 1. Modified *Urashima Taro*: Taro is represented as an octopus in the scene</figcaption></figure>

**Composition of the Stage and Selection of the Material.** In the arrangement of the characters in the background, in some works, they were adjusted to the background (Fig. 2 left), while in other works they were not (Fig. 2 right). The impression of each type was different. As for the positioning of the characters, their feet tended to adjust to the bottom of the canvas. The children would assume that the bottom of the stage was the ground.

In the picture materials, there were two pictures of an old man: one pleased and one disappointed. In the last scene of *Urashima Taro*, some works adopted the former, while others adopted the latter. This reflected the children's impression of the story.

**The Originality of the Works.** Even in the limited condition, originality was found in every work. It was because the children represented the impression of the story after
<figure><img src="image_5.png" /><figcaption>**Fig. 2.** Two types of arrangement of the characters in the background: Adjusted to the background (left), enlarged as the foreground (right)</figcaption></figure>

they understood it. In other words, the works made in the workshop reflected the story that the children had internalized. In contrast, it would also be interesting to instruct to make *kamishibai* for others, i.e., for performing and telling the story to others.

**The Task of the Workshop.** In this workshop, since the theme of *kamishibai* was given and the picture materials were limited, the range of expression was not so wide. However, this limitation made the children's work easy. This task would help them express their feelings and organize the stories they experienced. In addition, the children would learn the structure of stories by analyzing existing stories.

**Performing Kamishibai and Animation.** One of the differences between books and *kamishibai* is whether the performer exists. The reader of a book understands it with his/her imagination. The audience of *kamishibai* receives the performer's intent in addition to the content. The digital *kamishibai* system will help performers express intent more richly with animation.

# 4 Discussion

Based on the children's behavior and the questionnaire, most of the participants were able to author their original *kamishibai* by understanding and reorganizing the given theme.

In terms of operability, children over six years old were able to handle the system enough. However, children under six years of age preferred to touch operation and had some difficulty in operating the current system. Supporting touch operation in authoring will make it easier for infants to use the system.

Although the picture materials prepared for the workshop were limited, various *kamishibai* works were created. In other words, the children created the work's originality by devising combinations and arrangements of materials under limited conditions.

The staff at the children's hall pointed out that authoring *kamishibai* with a given theme would promote the ability to understand the structure of stories. In addition, other abilities could be promoted through well-designed conditions and tasks.

The function of the animation seemed to work effectively in performance in the workshop. The performer seemed to devise the motion of the character. S/he can tell the story not only with words but also with images.
# 5 Conclusion and Future Works

In this paper, the authors reported on a digital *kamishibai* workshop for children and a review of the works made in the workshop. The digital *kamishibai* (authoring and performing) system was developed by the authors, for children.

The impression of digital *kamishibai* was good for both the children and their parents. The children enjoyed the digital *kamishibai* and created various *kamishibai* works.

The works were reviewed by a *kamishibai* expert. He pointed out children's comprehension of the stories, the characteristics and style of representation, and the structure and originality of the works.

A more detailed analysis of the *kamishibai* works is one of the future works. Through the analysis, appropriate conditions (preparation, task, etc.) for utilizing the system will be found. To analyze and evaluate digital *kamishibai*, other experts' reviews are needed. After analysis and consideration, the authors plan to hold a workshop and contribute to children's education.

# References

1. Bingushi, K., Nozaki, M., Kojima, C.: The Effect of Making “Kamishibai.” Nagoya Ryujo Junior College annual report of studies 34, 77–86 (2012). (in Japanese)

2. Koyama, Y., Miyaji, I., Miyake, S., Namimoto, M., Shimoda, M., Yokota, K.: Development and evaluation of the hands-on 3D digital picture-card show system. Trans. Japanese Soc. Info. Sys. Edu. 26(1), 119–128 (2009). (in Japanese)

3. Takase, S.: Utilization of information and communications technology for an educational tool: creation of a three-dimensional digital picture-story show. Nagoya Ryujo Junior College Annual Report of Studies 32, 147–150 (2010). (in Japanese)

4. Kato, T.: Picture-story show with interactive whiteboard for infants. Bulletin of Nagoya Uni. Arts 35, 77–87 (2014). (in Japanese)

5. Murata, M., Ushida, K., Chen, Q.: Development of a digital picture-story system with touch operation. IEICE Technical Report, MVE2018-7 (2018). (in Japanese)

6. Murata, M., Ushida, K., Chen, Q.: A digital picture story system with touch operation — development and evaluation via workshop—. IEEE GCCE **2019**, 1082–1083 (2019)