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Part IV. Storytelling and Learning in the 21" Century ] 149 needs of the labor market in the new millennium reguires a redefinition of the curricular objectives of the education system as a whole. The Partnership for 21% Century Skills (P21) focuses on the development of skills which are still linked to the core knowledge and skills of traditional education but which are also adapted to new needs. Thus, efforts toward the development of information and media literacy and the use of digital tools have emerged, and efforts toward developing 4C skills (i.e., communication, creativity, critical thinking, and cooperation) also play an important role of the teaching of learning and innovation skills (Trilling & Fadel, 2009). These skill areas can be successfully developed through the creation of digital narratives as students engage in the creative process of learning by doing, actively synthesizing knowledge, and solving problems. The whole process of storytelling with digital tools is accompanied by active discussion and evaluation with peers and the instructor (Abdolmanafi-Rokni and Quarajeh, 2014; Lanszki, 2015a), which can also take place online. The process involved in the creation of the most typical types of digital narrative, the digital story, contributes to the development of all four of the previously mentioned C’s. The impact of DST on the development of 21*-century skills has also been the subject of numerous studies (Kotluk & Kocakaya, 2017; Malita & Martin, 2010; Thang et al., 2014). Ohler (2013) saw digital storytelling as an effective way to develop critical thinking and creativity simultaneously, and coined the term creatic thinking. The creation of multimedia narratives takes place simultaneously at the level of the learning community and the individual, and therefore this hybrid construction can be understood as a specific form of cooperative creation or co-creation (Parsons et al., 2015; Lanszki, 2021). Creation occurs through students’ development of their individual products, and cooperation is present in the reflective and evaluative interactions that the learning group contributes to the final narrative. Schmoelz (2018) investigated two levels of co-creativity through the contact learning interactions of DST (n = 125). The first level involved text writing and the exchange of experiences and information. At the second level, the video editing phase, which was experiential yet controlled by rational guidelines, a shared flow experience was achieved. According to Bereczki (2016), the main features of creativity are that “[...] (1) it is generated through individual and group processes, (2) it results in products that are both original and appropriate, and that (3) creativity is influenced by a myriad of personal and environmental factors.” (Bereczki, 2016, p. 7) The conceptual matrix of creativity is also relevant to the creation of digital stories and other digital narratives, as (1) the product is created through research, creative processes, and community interactions; (2) the narratives themselves are unique verbal, visual or audiovisual representations of their creators and, as they can include curricular content, they are not only interesting for the learning community but also useful and informative; (3)
