Index
Knowledge Management and the Practice of Storytelling
ISBN: 978-1-83982-481-4, eISBN: 978-1-83982-480-7
Publication date: 20 January 2022
Citation
Brown-Grant, J. (2022), "Index", Knowledge Management and the Practice of Storytelling, Emerald Publishing Limited, Leeds, pp. 125-128. https://doi.org/10.1108/978-1-83982-480-720211017
Publisher
:Emerald Publishing Limited
Copyright © 2022 by Emerald Publishing Limited
INDEX
Advocates, 65
American Productivity and Quality Center (APQC), 15
Argument, 39, 86
Art, 5–6
Assessments, 81–82
ethnographic competencies and skills assessment, 90–91
and knowledge management, 82–83
performative competencies and skill assessment, 88–90
rhetorical competencies and skill assessment, 86–88
storytelling assessment, 84–86
types, 81–82
Asynchronous delivery of story, 21
Audience, 43, 52–53
analyses, 41–47
using storytelling to persuade, 38, 40
types of audience analysis, 43
Audit, 95–97
Autoethnography, 75
Capture knowledge, 16
Cautionary stories, 20–21
Character development, 35–36
Characterization, 35–36
Cinematic storytelling, 6–7
Co-production, 89
Cognitive basis of storytelling, 7–10
Collaboration, 19
Commitment to values, 45
Communication audit, 96
Competency matrix, 36, 38, 40–41, 46–47, 56–57, 76, 78
Competency-based education (CBE), 84
Competency/competencies, 26–27
analysis, 36, 40, 46–47, 55, 57, 76, 78
assessing, 83
Connection, 89–90
Content
analysis, 73
audit, 95–96
Craft, 11–12
Create knowledge, 16
Dastangoi, 18
Data storytelling, 6–7
Delivery of story, 20
Demographic analysis, 44–45
Diagnostic assessments, 81
Direct assessments, 82
Effectiveness of storytelling
challenges in storytelling assessment, 103–104
impact assessment, 93–94
Kirkpatrick model, 101–103
pre-assessment, 94–97
storytelling audit, 97–100
storytelling outcomes, 100–101
Emotion, 7–8
Ethnographic competencies and skills assessment, 90–91
Ethnography, 59–60
analyze story, 73–75
interview, 64–66
methods, 60
narrative analysis, 70–73
participation observation, 60–62
storytelling interview, 66
and tacit knowledge, 75–78
Evaluate knowledge, 16–17
Evaluation, 39
Explicit knowledge, 15–16
Finding story, 19
Formative assessments, 81
Framework, 8
Globalize knowledge, 17
Griot, 10
Holistic storytelling strategy, 108–109
Identity, 6–7
Impact
assessment, 93–94
evaluations, 94
questions, 40
Imprecision, 54
Indigenous communities, 11
Indirect assessments, 82
Informants, 65
Information audits, 96–97
Information consumption preferences, 46
Information systems audits, 96
Information values, 46
Institutional challenges, 104
Integrate knowledge, 16
Integrity, 87
International Organization for Standardization (ISO), 95–97
Interpretation, 54–55
Interviewees, 64–65
Intonational autonomy, 54
Inventory, 95–96
Judgmental assessments, 82
Kirkpatrick model, 101–103
behavior, 102–103
learning, 102
reaction, 101–102
results, 103
Knowledge
assets, 97
audits, 97
capabilities, 97
keepers, 18
life cycle models, 17
maturity, 17
organizations, 19
sharing, 46, 54, 57
transfer, 21
type, 75
Knowledge management (KM), 1–2, 15, 17
analysis, 45–46
assessments and, 82–83
audience analysis, 45–46
finding story, 19
maturity, 46
methodology, 19–21
plot type, 20–21
as practice, 16–17
storytelling and, 18–19
tacit vs. explicit knowledge, 15–16
Language, 12–13
Learner/actors, 65
Lessons learned, 107–109
Listening, 12–13
Literacy, 23–24
Matrix analysis, 36
of audience analysis, 46–47
of ethnography, 76–78
of performance, 56–57
of persuasion, 40–41
of plot and character development, 36–38
Meaning of storytelling, 5–6
Memory, 8–9
Mirroring, 18–19
Models, 17
Narration, 51
Narratives, 1, 10
analysis, 70–73
context, 73
engagement, 39
inventory chart, 70
type and function, 74
National Storytelling Festival in Jonesborough, TN, 53
Nonjudgmental assessments, 82
Objective assessments, 82
Observer, 60–61
On-site assessments, 82
Oral cultures, 18
Oral tradition, 52–54
Organizational storytelling voice, 28–29
Organizational values, 45
Outcomes, 94
Participant, 6–7
Participation observation, 60–62
challenges to conducting, 64
prepare for, 61–62
for storytelling initiatives, 62–64
Performance, 49–50
as act of narration, 51
as art, 53–54
as collaboration, 52–53
as discourse, 50–51
and knowledge sharing, 54–57
as reenactment, 51–52
type to deliver story, 50–54
Performative competencies and skill assessment, 88–90
Performative quality, 2
Performer, 50
Personal stories, 71
Persuasion, 33–34
Persuasive arguments, 39
Plot, 34–35
Practical applications, 36–38
Practice, 10–13
Practitioners, 13
Pre-assessment, 94–97
Pre-interview guide for storytelling interview, 68–69
Prior knowledge, 46
Producers, 94
Production, 17
Productive, expandable, social concept of skill (PES concept of skill), 25
Psychographic analysis, 45
Qualitative assessments, 82
Quantitative assessments, 82
Re-enactment, 89
Refining, 13
Repetition, 54
Reporters, 65
Research, 1–2
collaborators, 65
Resonance, 87
Retrospective assessments, 82
Rhetoric, 33
Rhetorical and discursive foundations of storytelling, 33–34
Rhetorical competencies and skill assessment, 86–88
Rhetorical situation, 33–34
Rubrics, 84
Sensegiving, 87–88
Sensemaking, 9–10, 39, 87
Share knowledge, 16
Situational analysis, 43–44
Skills, 24–26
assessing, 83
Socially constructed skills, 25–26
Speaker, 2
Spontaneous side comments and response units, 54
Standards, 39
Store knowledge, 17
Story, 1
analyze, 73–75
structure, 34–36
Story-making, 11–12
Storyteller, 27–28
Storytelling, 1–2, 5, 7
cognitive basis, 7–10
identity, 28
and knowledge management, 18–19
in knowledge management, 107–109
in other domains, 6–7
outcomes, 100–101
perceptions, 45
to persuade audiences, 38–40
as practice, 10–13
rhetorical and discursive foundations of, 33–34
strategist, 28
voice, 28–29
Storytelling assessment, 84–86
assessing people, 85
assessing product, 85–86
assessing storytelling competencies and skills, 86
challenges in, 103–104
practical considerations for, 84–86
Storytelling audit (S-Audit), 94–97
basic framework for, 98
conduct, 97–100
Storytelling competencies
case for, 27–29
characteristics of individuals, 27–28
characteristics of organizations, 28–29
standards for development of storytelling competencies and skills, 110–111
Storytelling festivals, 11–13
Storytelling interview, 66
challenges to, 69–70
conduct, 67–70
Storytelling listening, 67
Storyworld, 39, 86–87
Strategist, 28
Structure of story, 34–36
Subjective assessments, 82
Summative assessments, 81
Synchronous delivery of story, 20–21
Syntactic autonomy, 54
Tacit knowledge, 15–16, 75, 78
Telling of story, 12
Time-stamped assessments, 81–82
Training of story, 21
Transfer, 90
knowledge, 16
Transferability, 87
Transportability, 87
Transportation, 39
Vocabulary, 88–89
Voice, 28–29
Workforce, 100
Dastangoi, 18
Data storytelling, 6–7
Delivery of story, 20
Demographic analysis, 44–45
Diagnostic assessments, 81
Direct assessments, 82
Effectiveness of storytelling
challenges in storytelling assessment, 103–104
impact assessment, 93–94
Kirkpatrick model, 101–103
pre-assessment, 94–97
storytelling audit, 97–100
storytelling outcomes, 100–101
Emotion, 7–8
Ethnographic competencies and skills assessment, 90–91
Ethnography, 59–60
analyze story, 73–75
interview, 64–66
methods, 60
narrative analysis, 70–73
participation observation, 60–62
storytelling interview, 66
and tacit knowledge, 75–78
Evaluate knowledge, 16–17
Evaluation, 39
Explicit knowledge, 15–16
Finding story, 19
Formative assessments, 81
Framework, 8
Globalize knowledge, 17
Griot, 10
Holistic storytelling strategy, 108–109
Identity, 6–7
Impact
assessment, 93–94
evaluations, 94
questions, 40
Imprecision, 54
Indigenous communities, 11
Indirect assessments, 82
Informants, 65
Information audits, 96–97
Information consumption preferences, 46
Information systems audits, 96
Information values, 46
Institutional challenges, 104
Integrate knowledge, 16
Integrity, 87
International Organization for Standardization (ISO), 95–97
Interpretation, 54–55
Interviewees, 64–65
Intonational autonomy, 54
Inventory, 95–96
Judgmental assessments, 82
Kirkpatrick model, 101–103
behavior, 102–103
learning, 102
reaction, 101–102
results, 103
Knowledge
assets, 97
audits, 97
capabilities, 97
keepers, 18
life cycle models, 17
maturity, 17
organizations, 19
sharing, 46, 54, 57
transfer, 21
type, 75
Knowledge management (KM), 1–2, 15, 17
analysis, 45–46
assessments and, 82–83
audience analysis, 45–46
finding story, 19
maturity, 46
methodology, 19–21
plot type, 20–21
as practice, 16–17
storytelling and, 18–19
tacit vs. explicit knowledge, 15–16
Language, 12–13
Learner/actors, 65
Lessons learned, 107–109
Listening, 12–13
Literacy, 23–24
Matrix analysis, 36
of audience analysis, 46–47
of ethnography, 76–78
of performance, 56–57
of persuasion, 40–41
of plot and character development, 36–38
Meaning of storytelling, 5–6
Memory, 8–9
Mirroring, 18–19
Models, 17
Narration, 51
Narratives, 1, 10
analysis, 70–73
context, 73
engagement, 39
inventory chart, 70
type and function, 74
National Storytelling Festival in Jonesborough, TN, 53
Nonjudgmental assessments, 82
Objective assessments, 82
Observer, 60–61
On-site assessments, 82
Oral cultures, 18
Oral tradition, 52–54
Organizational storytelling voice, 28–29
Organizational values, 45
Outcomes, 94
Participant, 6–7
Participation observation, 60–62
challenges to conducting, 64
prepare for, 61–62
for storytelling initiatives, 62–64
Performance, 49–50
as act of narration, 51
as art, 53–54
as collaboration, 52–53
as discourse, 50–51
and knowledge sharing, 54–57
as reenactment, 51–52
type to deliver story, 50–54
Performative competencies and skill assessment, 88–90
Performative quality, 2
Performer, 50
Personal stories, 71
Persuasion, 33–34
Persuasive arguments, 39
Plot, 34–35
Practical applications, 36–38
Practice, 10–13
Practitioners, 13
Pre-assessment, 94–97
Pre-interview guide for storytelling interview, 68–69
Prior knowledge, 46
Producers, 94
Production, 17
Productive, expandable, social concept of skill (PES concept of skill), 25
Psychographic analysis, 45
Qualitative assessments, 82
Quantitative assessments, 82
Re-enactment, 89
Refining, 13
Repetition, 54
Reporters, 65
Research, 1–2
collaborators, 65
Resonance, 87
Retrospective assessments, 82
Rhetoric, 33
Rhetorical and discursive foundations of storytelling, 33–34
Rhetorical competencies and skill assessment, 86–88
Rhetorical situation, 33–34
Rubrics, 84
Sensegiving, 87–88
Sensemaking, 9–10, 39, 87
Share knowledge, 16
Situational analysis, 43–44
Skills, 24–26
assessing, 83
Socially constructed skills, 25–26
Speaker, 2
Spontaneous side comments and response units, 54
Standards, 39
Store knowledge, 17
Story, 1
analyze, 73–75
structure, 34–36
Story-making, 11–12
Storyteller, 27–28
Storytelling, 1–2, 5, 7
cognitive basis, 7–10
identity, 28
and knowledge management, 18–19
in knowledge management, 107–109
in other domains, 6–7
outcomes, 100–101
perceptions, 45
to persuade audiences, 38–40
as practice, 10–13
rhetorical and discursive foundations of, 33–34
strategist, 28
voice, 28–29
Storytelling assessment, 84–86
assessing people, 85
assessing product, 85–86
assessing storytelling competencies and skills, 86
challenges in, 103–104
practical considerations for, 84–86
Storytelling audit (S-Audit), 94–97
basic framework for, 98
conduct, 97–100
Storytelling competencies
case for, 27–29
characteristics of individuals, 27–28
characteristics of organizations, 28–29
standards for development of storytelling competencies and skills, 110–111
Storytelling festivals, 11–13
Storytelling interview, 66
challenges to, 69–70
conduct, 67–70
Storytelling listening, 67
Storyworld, 39, 86–87
Strategist, 28
Structure of story, 34–36
Subjective assessments, 82
Summative assessments, 81
Synchronous delivery of story, 20–21
Syntactic autonomy, 54
Tacit knowledge, 15–16, 75, 78
Telling of story, 12
Time-stamped assessments, 81–82
Training of story, 21
Transfer, 90
knowledge, 16
Transferability, 87
Transportability, 87
Transportation, 39
Vocabulary, 88–89
Voice, 28–29
Workforce, 100
Finding story, 19
Formative assessments, 81
Framework, 8
Globalize knowledge, 17
Griot, 10
Holistic storytelling strategy, 108–109
Identity, 6–7
Impact
assessment, 93–94
evaluations, 94
questions, 40
Imprecision, 54
Indigenous communities, 11
Indirect assessments, 82
Informants, 65
Information audits, 96–97
Information consumption preferences, 46
Information systems audits, 96
Information values, 46
Institutional challenges, 104
Integrate knowledge, 16
Integrity, 87
International Organization for Standardization (ISO), 95–97
Interpretation, 54–55
Interviewees, 64–65
Intonational autonomy, 54
Inventory, 95–96
Judgmental assessments, 82
Kirkpatrick model, 101–103
behavior, 102–103
learning, 102
reaction, 101–102
results, 103
Knowledge
assets, 97
audits, 97
capabilities, 97
keepers, 18
life cycle models, 17
maturity, 17
organizations, 19
sharing, 46, 54, 57
transfer, 21
type, 75
Knowledge management (KM), 1–2, 15, 17
analysis, 45–46
assessments and, 82–83
audience analysis, 45–46
finding story, 19
maturity, 46
methodology, 19–21
plot type, 20–21
as practice, 16–17
storytelling and, 18–19
tacit vs. explicit knowledge, 15–16
Language, 12–13
Learner/actors, 65
Lessons learned, 107–109
Listening, 12–13
Literacy, 23–24
Matrix analysis, 36
of audience analysis, 46–47
of ethnography, 76–78
of performance, 56–57
of persuasion, 40–41
of plot and character development, 36–38
Meaning of storytelling, 5–6
Memory, 8–9
Mirroring, 18–19
Models, 17
Narration, 51
Narratives, 1, 10
analysis, 70–73
context, 73
engagement, 39
inventory chart, 70
type and function, 74
National Storytelling Festival in Jonesborough, TN, 53
Nonjudgmental assessments, 82
Objective assessments, 82
Observer, 60–61
On-site assessments, 82
Oral cultures, 18
Oral tradition, 52–54
Organizational storytelling voice, 28–29
Organizational values, 45
Outcomes, 94
Participant, 6–7
Participation observation, 60–62
challenges to conducting, 64
prepare for, 61–62
for storytelling initiatives, 62–64
Performance, 49–50
as act of narration, 51
as art, 53–54
as collaboration, 52–53
as discourse, 50–51
and knowledge sharing, 54–57
as reenactment, 51–52
type to deliver story, 50–54
Performative competencies and skill assessment, 88–90
Performative quality, 2
Performer, 50
Personal stories, 71
Persuasion, 33–34
Persuasive arguments, 39
Plot, 34–35
Practical applications, 36–38
Practice, 10–13
Practitioners, 13
Pre-assessment, 94–97
Pre-interview guide for storytelling interview, 68–69
Prior knowledge, 46
Producers, 94
Production, 17
Productive, expandable, social concept of skill (PES concept of skill), 25
Psychographic analysis, 45
Qualitative assessments, 82
Quantitative assessments, 82
Re-enactment, 89
Refining, 13
Repetition, 54
Reporters, 65
Research, 1–2
collaborators, 65
Resonance, 87
Retrospective assessments, 82
Rhetoric, 33
Rhetorical and discursive foundations of storytelling, 33–34
Rhetorical competencies and skill assessment, 86–88
Rhetorical situation, 33–34
Rubrics, 84
Sensegiving, 87–88
Sensemaking, 9–10, 39, 87
Share knowledge, 16
Situational analysis, 43–44
Skills, 24–26
assessing, 83
Socially constructed skills, 25–26
Speaker, 2
Spontaneous side comments and response units, 54
Standards, 39
Store knowledge, 17
Story, 1
analyze, 73–75
structure, 34–36
Story-making, 11–12
Storyteller, 27–28
Storytelling, 1–2, 5, 7
cognitive basis, 7–10
identity, 28
and knowledge management, 18–19
in knowledge management, 107–109
in other domains, 6–7
outcomes, 100–101
perceptions, 45
to persuade audiences, 38–40
as practice, 10–13
rhetorical and discursive foundations of, 33–34
strategist, 28
voice, 28–29
Storytelling assessment, 84–86
assessing people, 85
assessing product, 85–86
assessing storytelling competencies and skills, 86
challenges in, 103–104
practical considerations for, 84–86
Storytelling audit (S-Audit), 94–97
basic framework for, 98
conduct, 97–100
Storytelling competencies
case for, 27–29
characteristics of individuals, 27–28
characteristics of organizations, 28–29
standards for development of storytelling competencies and skills, 110–111
Storytelling festivals, 11–13
Storytelling interview, 66
challenges to, 69–70
conduct, 67–70
Storytelling listening, 67
Storyworld, 39, 86–87
Strategist, 28
Structure of story, 34–36
Subjective assessments, 82
Summative assessments, 81
Synchronous delivery of story, 20–21
Syntactic autonomy, 54
Tacit knowledge, 15–16, 75, 78
Telling of story, 12
Time-stamped assessments, 81–82
Training of story, 21
Transfer, 90
knowledge, 16
Transferability, 87
Transportability, 87
Transportation, 39
Vocabulary, 88–89
Voice, 28–29
Workforce, 100
Holistic storytelling strategy, 108–109
Identity, 6–7
Impact
assessment, 93–94
evaluations, 94
questions, 40
Imprecision, 54
Indigenous communities, 11
Indirect assessments, 82
Informants, 65
Information audits, 96–97
Information consumption preferences, 46
Information systems audits, 96
Information values, 46
Institutional challenges, 104
Integrate knowledge, 16
Integrity, 87
International Organization for Standardization (ISO), 95–97
Interpretation, 54–55
Interviewees, 64–65
Intonational autonomy, 54
Inventory, 95–96
Judgmental assessments, 82
Kirkpatrick model, 101–103
behavior, 102–103
learning, 102
reaction, 101–102
results, 103
Knowledge
assets, 97
audits, 97
capabilities, 97
keepers, 18
life cycle models, 17
maturity, 17
organizations, 19
sharing, 46, 54, 57
transfer, 21
type, 75
Knowledge management (KM), 1–2, 15, 17
analysis, 45–46
assessments and, 82–83
audience analysis, 45–46
finding story, 19
maturity, 46
methodology, 19–21
plot type, 20–21
as practice, 16–17
storytelling and, 18–19
tacit vs. explicit knowledge, 15–16
Language, 12–13
Learner/actors, 65
Lessons learned, 107–109
Listening, 12–13
Literacy, 23–24
Matrix analysis, 36
of audience analysis, 46–47
of ethnography, 76–78
of performance, 56–57
of persuasion, 40–41
of plot and character development, 36–38
Meaning of storytelling, 5–6
Memory, 8–9
Mirroring, 18–19
Models, 17
Narration, 51
Narratives, 1, 10
analysis, 70–73
context, 73
engagement, 39
inventory chart, 70
type and function, 74
National Storytelling Festival in Jonesborough, TN, 53
Nonjudgmental assessments, 82
Objective assessments, 82
Observer, 60–61
On-site assessments, 82
Oral cultures, 18
Oral tradition, 52–54
Organizational storytelling voice, 28–29
Organizational values, 45
Outcomes, 94
Participant, 6–7
Participation observation, 60–62
challenges to conducting, 64
prepare for, 61–62
for storytelling initiatives, 62–64
Performance, 49–50
as act of narration, 51
as art, 53–54
as collaboration, 52–53
as discourse, 50–51
and knowledge sharing, 54–57
as reenactment, 51–52
type to deliver story, 50–54
Performative competencies and skill assessment, 88–90
Performative quality, 2
Performer, 50
Personal stories, 71
Persuasion, 33–34
Persuasive arguments, 39
Plot, 34–35
Practical applications, 36–38
Practice, 10–13
Practitioners, 13
Pre-assessment, 94–97
Pre-interview guide for storytelling interview, 68–69
Prior knowledge, 46
Producers, 94
Production, 17
Productive, expandable, social concept of skill (PES concept of skill), 25
Psychographic analysis, 45
Qualitative assessments, 82
Quantitative assessments, 82
Re-enactment, 89
Refining, 13
Repetition, 54
Reporters, 65
Research, 1–2
collaborators, 65
Resonance, 87
Retrospective assessments, 82
Rhetoric, 33
Rhetorical and discursive foundations of storytelling, 33–34
Rhetorical competencies and skill assessment, 86–88
Rhetorical situation, 33–34
Rubrics, 84
Sensegiving, 87–88
Sensemaking, 9–10, 39, 87
Share knowledge, 16
Situational analysis, 43–44
Skills, 24–26
assessing, 83
Socially constructed skills, 25–26
Speaker, 2
Spontaneous side comments and response units, 54
Standards, 39
Store knowledge, 17
Story, 1
analyze, 73–75
structure, 34–36
Story-making, 11–12
Storyteller, 27–28
Storytelling, 1–2, 5, 7
cognitive basis, 7–10
identity, 28
and knowledge management, 18–19
in knowledge management, 107–109
in other domains, 6–7
outcomes, 100–101
perceptions, 45
to persuade audiences, 38–40
as practice, 10–13
rhetorical and discursive foundations of, 33–34
strategist, 28
voice, 28–29
Storytelling assessment, 84–86
assessing people, 85
assessing product, 85–86
assessing storytelling competencies and skills, 86
challenges in, 103–104
practical considerations for, 84–86
Storytelling audit (S-Audit), 94–97
basic framework for, 98
conduct, 97–100
Storytelling competencies
case for, 27–29
characteristics of individuals, 27–28
characteristics of organizations, 28–29
standards for development of storytelling competencies and skills, 110–111
Storytelling festivals, 11–13
Storytelling interview, 66
challenges to, 69–70
conduct, 67–70
Storytelling listening, 67
Storyworld, 39, 86–87
Strategist, 28
Structure of story, 34–36
Subjective assessments, 82
Summative assessments, 81
Synchronous delivery of story, 20–21
Syntactic autonomy, 54
Tacit knowledge, 15–16, 75, 78
Telling of story, 12
Time-stamped assessments, 81–82
Training of story, 21
Transfer, 90
knowledge, 16
Transferability, 87
Transportability, 87
Transportation, 39
Vocabulary, 88–89
Voice, 28–29
Workforce, 100
Judgmental assessments, 82
Kirkpatrick model, 101–103
behavior, 102–103
learning, 102
reaction, 101–102
results, 103
Knowledge
assets, 97
audits, 97
capabilities, 97
keepers, 18
life cycle models, 17
maturity, 17
organizations, 19
sharing, 46, 54, 57
transfer, 21
type, 75
Knowledge management (KM), 1–2, 15, 17
analysis, 45–46
assessments and, 82–83
audience analysis, 45–46
finding story, 19
maturity, 46
methodology, 19–21
plot type, 20–21
as practice, 16–17
storytelling and, 18–19
tacit vs. explicit knowledge, 15–16
Language, 12–13
Learner/actors, 65
Lessons learned, 107–109
Listening, 12–13
Literacy, 23–24
Matrix analysis, 36
of audience analysis, 46–47
of ethnography, 76–78
of performance, 56–57
of persuasion, 40–41
of plot and character development, 36–38
Meaning of storytelling, 5–6
Memory, 8–9
Mirroring, 18–19
Models, 17
Narration, 51
Narratives, 1, 10
analysis, 70–73
context, 73
engagement, 39
inventory chart, 70
type and function, 74
National Storytelling Festival in Jonesborough, TN, 53
Nonjudgmental assessments, 82
Objective assessments, 82
Observer, 60–61
On-site assessments, 82
Oral cultures, 18
Oral tradition, 52–54
Organizational storytelling voice, 28–29
Organizational values, 45
Outcomes, 94
Participant, 6–7
Participation observation, 60–62
challenges to conducting, 64
prepare for, 61–62
for storytelling initiatives, 62–64
Performance, 49–50
as act of narration, 51
as art, 53–54
as collaboration, 52–53
as discourse, 50–51
and knowledge sharing, 54–57
as reenactment, 51–52
type to deliver story, 50–54
Performative competencies and skill assessment, 88–90
Performative quality, 2
Performer, 50
Personal stories, 71
Persuasion, 33–34
Persuasive arguments, 39
Plot, 34–35
Practical applications, 36–38
Practice, 10–13
Practitioners, 13
Pre-assessment, 94–97
Pre-interview guide for storytelling interview, 68–69
Prior knowledge, 46
Producers, 94
Production, 17
Productive, expandable, social concept of skill (PES concept of skill), 25
Psychographic analysis, 45
Qualitative assessments, 82
Quantitative assessments, 82
Re-enactment, 89
Refining, 13
Repetition, 54
Reporters, 65
Research, 1–2
collaborators, 65
Resonance, 87
Retrospective assessments, 82
Rhetoric, 33
Rhetorical and discursive foundations of storytelling, 33–34
Rhetorical competencies and skill assessment, 86–88
Rhetorical situation, 33–34
Rubrics, 84
Sensegiving, 87–88
Sensemaking, 9–10, 39, 87
Share knowledge, 16
Situational analysis, 43–44
Skills, 24–26
assessing, 83
Socially constructed skills, 25–26
Speaker, 2
Spontaneous side comments and response units, 54
Standards, 39
Store knowledge, 17
Story, 1
analyze, 73–75
structure, 34–36
Story-making, 11–12
Storyteller, 27–28
Storytelling, 1–2, 5, 7
cognitive basis, 7–10
identity, 28
and knowledge management, 18–19
in knowledge management, 107–109
in other domains, 6–7
outcomes, 100–101
perceptions, 45
to persuade audiences, 38–40
as practice, 10–13
rhetorical and discursive foundations of, 33–34
strategist, 28
voice, 28–29
Storytelling assessment, 84–86
assessing people, 85
assessing product, 85–86
assessing storytelling competencies and skills, 86
challenges in, 103–104
practical considerations for, 84–86
Storytelling audit (S-Audit), 94–97
basic framework for, 98
conduct, 97–100
Storytelling competencies
case for, 27–29
characteristics of individuals, 27–28
characteristics of organizations, 28–29
standards for development of storytelling competencies and skills, 110–111
Storytelling festivals, 11–13
Storytelling interview, 66
challenges to, 69–70
conduct, 67–70
Storytelling listening, 67
Storyworld, 39, 86–87
Strategist, 28
Structure of story, 34–36
Subjective assessments, 82
Summative assessments, 81
Synchronous delivery of story, 20–21
Syntactic autonomy, 54
Tacit knowledge, 15–16, 75, 78
Telling of story, 12
Time-stamped assessments, 81–82
Training of story, 21
Transfer, 90
knowledge, 16
Transferability, 87
Transportability, 87
Transportation, 39
Vocabulary, 88–89
Voice, 28–29
Workforce, 100
Language, 12–13
Learner/actors, 65
Lessons learned, 107–109
Listening, 12–13
Literacy, 23–24
Matrix analysis, 36
of audience analysis, 46–47
of ethnography, 76–78
of performance, 56–57
of persuasion, 40–41
of plot and character development, 36–38
Meaning of storytelling, 5–6
Memory, 8–9
Mirroring, 18–19
Models, 17
Narration, 51
Narratives, 1, 10
analysis, 70–73
context, 73
engagement, 39
inventory chart, 70
type and function, 74
National Storytelling Festival in Jonesborough, TN, 53
Nonjudgmental assessments, 82
Objective assessments, 82
Observer, 60–61
On-site assessments, 82
Oral cultures, 18
Oral tradition, 52–54
Organizational storytelling voice, 28–29
Organizational values, 45
Outcomes, 94
Participant, 6–7
Participation observation, 60–62
challenges to conducting, 64
prepare for, 61–62
for storytelling initiatives, 62–64
Performance, 49–50
as act of narration, 51
as art, 53–54
as collaboration, 52–53
as discourse, 50–51
and knowledge sharing, 54–57
as reenactment, 51–52
type to deliver story, 50–54
Performative competencies and skill assessment, 88–90
Performative quality, 2
Performer, 50
Personal stories, 71
Persuasion, 33–34
Persuasive arguments, 39
Plot, 34–35
Practical applications, 36–38
Practice, 10–13
Practitioners, 13
Pre-assessment, 94–97
Pre-interview guide for storytelling interview, 68–69
Prior knowledge, 46
Producers, 94
Production, 17
Productive, expandable, social concept of skill (PES concept of skill), 25
Psychographic analysis, 45
Qualitative assessments, 82
Quantitative assessments, 82
Re-enactment, 89
Refining, 13
Repetition, 54
Reporters, 65
Research, 1–2
collaborators, 65
Resonance, 87
Retrospective assessments, 82
Rhetoric, 33
Rhetorical and discursive foundations of storytelling, 33–34
Rhetorical competencies and skill assessment, 86–88
Rhetorical situation, 33–34
Rubrics, 84
Sensegiving, 87–88
Sensemaking, 9–10, 39, 87
Share knowledge, 16
Situational analysis, 43–44
Skills, 24–26
assessing, 83
Socially constructed skills, 25–26
Speaker, 2
Spontaneous side comments and response units, 54
Standards, 39
Store knowledge, 17
Story, 1
analyze, 73–75
structure, 34–36
Story-making, 11–12
Storyteller, 27–28
Storytelling, 1–2, 5, 7
cognitive basis, 7–10
identity, 28
and knowledge management, 18–19
in knowledge management, 107–109
in other domains, 6–7
outcomes, 100–101
perceptions, 45
to persuade audiences, 38–40
as practice, 10–13
rhetorical and discursive foundations of, 33–34
strategist, 28
voice, 28–29
Storytelling assessment, 84–86
assessing people, 85
assessing product, 85–86
assessing storytelling competencies and skills, 86
challenges in, 103–104
practical considerations for, 84–86
Storytelling audit (S-Audit), 94–97
basic framework for, 98
conduct, 97–100
Storytelling competencies
case for, 27–29
characteristics of individuals, 27–28
characteristics of organizations, 28–29
standards for development of storytelling competencies and skills, 110–111
Storytelling festivals, 11–13
Storytelling interview, 66
challenges to, 69–70
conduct, 67–70
Storytelling listening, 67
Storyworld, 39, 86–87
Strategist, 28
Structure of story, 34–36
Subjective assessments, 82
Summative assessments, 81
Synchronous delivery of story, 20–21
Syntactic autonomy, 54
Tacit knowledge, 15–16, 75, 78
Telling of story, 12
Time-stamped assessments, 81–82
Training of story, 21
Transfer, 90
knowledge, 16
Transferability, 87
Transportability, 87
Transportation, 39
Vocabulary, 88–89
Voice, 28–29
Workforce, 100
Narration, 51
Narratives, 1, 10
analysis, 70–73
context, 73
engagement, 39
inventory chart, 70
type and function, 74
National Storytelling Festival in Jonesborough, TN, 53
Nonjudgmental assessments, 82
Objective assessments, 82
Observer, 60–61
On-site assessments, 82
Oral cultures, 18
Oral tradition, 52–54
Organizational storytelling voice, 28–29
Organizational values, 45
Outcomes, 94
Participant, 6–7
Participation observation, 60–62
challenges to conducting, 64
prepare for, 61–62
for storytelling initiatives, 62–64
Performance, 49–50
as act of narration, 51
as art, 53–54
as collaboration, 52–53
as discourse, 50–51
and knowledge sharing, 54–57
as reenactment, 51–52
type to deliver story, 50–54
Performative competencies and skill assessment, 88–90
Performative quality, 2
Performer, 50
Personal stories, 71
Persuasion, 33–34
Persuasive arguments, 39
Plot, 34–35
Practical applications, 36–38
Practice, 10–13
Practitioners, 13
Pre-assessment, 94–97
Pre-interview guide for storytelling interview, 68–69
Prior knowledge, 46
Producers, 94
Production, 17
Productive, expandable, social concept of skill (PES concept of skill), 25
Psychographic analysis, 45
Qualitative assessments, 82
Quantitative assessments, 82
Re-enactment, 89
Refining, 13
Repetition, 54
Reporters, 65
Research, 1–2
collaborators, 65
Resonance, 87
Retrospective assessments, 82
Rhetoric, 33
Rhetorical and discursive foundations of storytelling, 33–34
Rhetorical competencies and skill assessment, 86–88
Rhetorical situation, 33–34
Rubrics, 84
Sensegiving, 87–88
Sensemaking, 9–10, 39, 87
Share knowledge, 16
Situational analysis, 43–44
Skills, 24–26
assessing, 83
Socially constructed skills, 25–26
Speaker, 2
Spontaneous side comments and response units, 54
Standards, 39
Store knowledge, 17
Story, 1
analyze, 73–75
structure, 34–36
Story-making, 11–12
Storyteller, 27–28
Storytelling, 1–2, 5, 7
cognitive basis, 7–10
identity, 28
and knowledge management, 18–19
in knowledge management, 107–109
in other domains, 6–7
outcomes, 100–101
perceptions, 45
to persuade audiences, 38–40
as practice, 10–13
rhetorical and discursive foundations of, 33–34
strategist, 28
voice, 28–29
Storytelling assessment, 84–86
assessing people, 85
assessing product, 85–86
assessing storytelling competencies and skills, 86
challenges in, 103–104
practical considerations for, 84–86
Storytelling audit (S-Audit), 94–97
basic framework for, 98
conduct, 97–100
Storytelling competencies
case for, 27–29
characteristics of individuals, 27–28
characteristics of organizations, 28–29
standards for development of storytelling competencies and skills, 110–111
Storytelling festivals, 11–13
Storytelling interview, 66
challenges to, 69–70
conduct, 67–70
Storytelling listening, 67
Storyworld, 39, 86–87
Strategist, 28
Structure of story, 34–36
Subjective assessments, 82
Summative assessments, 81
Synchronous delivery of story, 20–21
Syntactic autonomy, 54
Tacit knowledge, 15–16, 75, 78
Telling of story, 12
Time-stamped assessments, 81–82
Training of story, 21
Transfer, 90
knowledge, 16
Transferability, 87
Transportability, 87
Transportation, 39
Vocabulary, 88–89
Voice, 28–29
Workforce, 100
Participant, 6–7
Participation observation, 60–62
challenges to conducting, 64
prepare for, 61–62
for storytelling initiatives, 62–64
Performance, 49–50
as act of narration, 51
as art, 53–54
as collaboration, 52–53
as discourse, 50–51
and knowledge sharing, 54–57
as reenactment, 51–52
type to deliver story, 50–54
Performative competencies and skill assessment, 88–90
Performative quality, 2
Performer, 50
Personal stories, 71
Persuasion, 33–34
Persuasive arguments, 39
Plot, 34–35
Practical applications, 36–38
Practice, 10–13
Practitioners, 13
Pre-assessment, 94–97
Pre-interview guide for storytelling interview, 68–69
Prior knowledge, 46
Producers, 94
Production, 17
Productive, expandable, social concept of skill (PES concept of skill), 25
Psychographic analysis, 45
Qualitative assessments, 82
Quantitative assessments, 82
Re-enactment, 89
Refining, 13
Repetition, 54
Reporters, 65
Research, 1–2
collaborators, 65
Resonance, 87
Retrospective assessments, 82
Rhetoric, 33
Rhetorical and discursive foundations of storytelling, 33–34
Rhetorical competencies and skill assessment, 86–88
Rhetorical situation, 33–34
Rubrics, 84
Sensegiving, 87–88
Sensemaking, 9–10, 39, 87
Share knowledge, 16
Situational analysis, 43–44
Skills, 24–26
assessing, 83
Socially constructed skills, 25–26
Speaker, 2
Spontaneous side comments and response units, 54
Standards, 39
Store knowledge, 17
Story, 1
analyze, 73–75
structure, 34–36
Story-making, 11–12
Storyteller, 27–28
Storytelling, 1–2, 5, 7
cognitive basis, 7–10
identity, 28
and knowledge management, 18–19
in knowledge management, 107–109
in other domains, 6–7
outcomes, 100–101
perceptions, 45
to persuade audiences, 38–40
as practice, 10–13
rhetorical and discursive foundations of, 33–34
strategist, 28
voice, 28–29
Storytelling assessment, 84–86
assessing people, 85
assessing product, 85–86
assessing storytelling competencies and skills, 86
challenges in, 103–104
practical considerations for, 84–86
Storytelling audit (S-Audit), 94–97
basic framework for, 98
conduct, 97–100
Storytelling competencies
case for, 27–29
characteristics of individuals, 27–28
characteristics of organizations, 28–29
standards for development of storytelling competencies and skills, 110–111
Storytelling festivals, 11–13
Storytelling interview, 66
challenges to, 69–70
conduct, 67–70
Storytelling listening, 67
Storyworld, 39, 86–87
Strategist, 28
Structure of story, 34–36
Subjective assessments, 82
Summative assessments, 81
Synchronous delivery of story, 20–21
Syntactic autonomy, 54
Tacit knowledge, 15–16, 75, 78
Telling of story, 12
Time-stamped assessments, 81–82
Training of story, 21
Transfer, 90
knowledge, 16
Transferability, 87
Transportability, 87
Transportation, 39
Vocabulary, 88–89
Voice, 28–29
Workforce, 100
Re-enactment, 89
Refining, 13
Repetition, 54
Reporters, 65
Research, 1–2
collaborators, 65
Resonance, 87
Retrospective assessments, 82
Rhetoric, 33
Rhetorical and discursive foundations of storytelling, 33–34
Rhetorical competencies and skill assessment, 86–88
Rhetorical situation, 33–34
Rubrics, 84
Sensegiving, 87–88
Sensemaking, 9–10, 39, 87
Share knowledge, 16
Situational analysis, 43–44
Skills, 24–26
assessing, 83
Socially constructed skills, 25–26
Speaker, 2
Spontaneous side comments and response units, 54
Standards, 39
Store knowledge, 17
Story, 1
analyze, 73–75
structure, 34–36
Story-making, 11–12
Storyteller, 27–28
Storytelling, 1–2, 5, 7
cognitive basis, 7–10
identity, 28
and knowledge management, 18–19
in knowledge management, 107–109
in other domains, 6–7
outcomes, 100–101
perceptions, 45
to persuade audiences, 38–40
as practice, 10–13
rhetorical and discursive foundations of, 33–34
strategist, 28
voice, 28–29
Storytelling assessment, 84–86
assessing people, 85
assessing product, 85–86
assessing storytelling competencies and skills, 86
challenges in, 103–104
practical considerations for, 84–86
Storytelling audit (S-Audit), 94–97
basic framework for, 98
conduct, 97–100
Storytelling competencies
case for, 27–29
characteristics of individuals, 27–28
characteristics of organizations, 28–29
standards for development of storytelling competencies and skills, 110–111
Storytelling festivals, 11–13
Storytelling interview, 66
challenges to, 69–70
conduct, 67–70
Storytelling listening, 67
Storyworld, 39, 86–87
Strategist, 28
Structure of story, 34–36
Subjective assessments, 82
Summative assessments, 81
Synchronous delivery of story, 20–21
Syntactic autonomy, 54
Tacit knowledge, 15–16, 75, 78
Telling of story, 12
Time-stamped assessments, 81–82
Training of story, 21
Transfer, 90
knowledge, 16
Transferability, 87
Transportability, 87
Transportation, 39
Vocabulary, 88–89
Voice, 28–29
Workforce, 100
Tacit knowledge, 15–16, 75, 78
Telling of story, 12
Time-stamped assessments, 81–82
Training of story, 21
Transfer, 90
knowledge, 16
Transferability, 87
Transportability, 87
Transportation, 39
Vocabulary, 88–89
Voice, 28–29
Workforce, 100
Workforce, 100
- Prelims
- Introduction
- Section I Conceptual Review
- 1 Understanding the Concept of Storytelling
- 2 The Practice of Storytelling as Knowledge Management
- 3 Literacy, Competencies, and Skills
- Section II Competencies and Skills
- 4 Rhetorical Competencies and Skills
- 5 Performative Competencies and Skills
- 6 Ethnographic Competencies and Skills
- Section III Assessment and Evaluation
- 7 Assessing Storytelling Competencies and Skills
- 8 Evaluating the Effectiveness of Storytelling
- Section IV Lessons and Takeaways
- 9 Lessons Learned
- References
- Index