Map as Stage Set: The Role of Maps in Downstream/Upstream, Part 1

"Mapstories" Full Spring Studio, 2011
Part of Downstream/Upstream

Learning from Physical Maps
I'm at an interesting point in the development of the Earth Systems Journey model for art-led environmental education. The first pilot, "Downstream/Upstream," was completed in 2011 with four to six year-olds, "April Showers, Storms and Flowers" was completed in 2013 with second graders, and I'm currently working on River Journey with a high school. One of the things that has emerged from the development of River Journey, is the great opportunity for using digital maps (or more specifically ArcGIS Online and Story Maps tools) as a vehicle for creative engagement and learning.

 But the use of maps in Earth Systems Journey (ESJ) is not new. Physical maps were an important part of many "props" in the first ESJ, Downstream/Upstream. And, in fact, the physical use of maps, as they support the participatory experience of ESJ, have the potential to inform the use of digital maps, so that they do more than provide a computer lab-based learning and communication function, but can also better serve the creative and experiential aspects of the journey.  This prior experience with physical maps can inform and inspire future uses of GIS story maps in several ways: recognizing its role as an important dramatic “prop,” interactive object, and record of the journey -- themes which I'll explore over several posts.

Detail from "Mapstories" Full Spring Studio, 2011

Map as Stage Set
and Call to Adventure
The 8x8 foot Mapstories (see images) shows the Twin Cities metro area in a collection of lift-the-flap map sections. It was constructed in the hall of the early learning center the week before the journey to create a sense of drama and anticipation. The map became a meeting ground for interaction. At the start of the journey, I gathered students around the map to launch the journey by showing where they (and their classroom sink) were on the map and asking, "Where does the water come from?" and "Where does the water go?" I also asked the children to help tell the story of water with all their senses and their camera and that their pictures would become part of the map, revealing the hidden path of water they discovered.

In one way, Mapstories was a stage set for participants as human actors in that it was a place for leaders and participants to launch and talk about the journey. The giant map, defined an area where significant parts of the journey itself took place, as well as a visual symbol of the journey that participants walked by every day so they could hold the idea of it in their mind. It was large enough, to create a setting or scene for interaction.

But Mapstories was also a stage set-in-progress, waiting for for a story of water that the children would help develop, and in that way it became part of the call to adventure itself. The map was the container for the "treasure" that the children would bring back. For in a "Hero's Journey," on which Earth Systems Journey is partly based, it is not enough for the hero to go out and find something they are looking for, (such as the source and destination  of their water in this case). Usually, in a Hero's Journey, the hero returns to community with something to offer, and a story to tell. 

In later posts, I'll explore how the role of physical maps as a stage set and call to adventure can inform the use of digital story maps in Earth Systems Journey projects.