teaching-tools-lessons

Teaching Tools and Lesson Plans Dear Teachers: Thank you for providing your students the opportunity to experience the Marsh Supermarkets Hoosier Storytelling Festival October 8 through 11, 2003. Benefits of Storytelling: Storytelling is key to meeting state standards for English, language arts, and other subjects as well. Hearing and telling stories: sparks students’ imagination and interest in reading, writing, and speaking. builds vocabulary, comprehension, story sequencing, and pre-writing skills. improves listening and oral communication skills.

The Guide and State Standards: This teacher’s guide is designed to make the Festival more than just an enjoyable field trip. The activities and resources within will help students build the listening, telling, and storymaking skills they experienced at the festival. The Guide has three main parts:

1) Teaching Tools and Lesson Plans (this file) contains resources, games, and lessons to address Indiana’s standards for English and language arts.

2) Online Resources is a Web page of links to storytelling sites. 3) Activities Aligned to State Standards (PDF file) has activities for more than

90 standards indicators (e.g., 2.5.1) for grades 1-8. The Festival Teacher’s Guide Web page has links to all three parts. To Get Started: Use the table of contents in both PDF files to help you locate topics quickly and print what you need. Check the categories described on the first screen of the Online Resources page to quickly find sites with ready-made teacher materials, self-directed student activities, and more. Guide Sources: This guide was prepared by Storytelling Arts of Indiana volunteers and staff members with experience in storytelling or education. Most of the suggested resources were found in the Indianapolis-Marion County Public Library online catalog or provided by storytellers. Much content and many of the classroom activities are credited to these sources. More Information: If you have any questions about this guide or the Marsh Supermarkets Hoosier Storytelling Festival, please contact me at 317-576-9848. Sincerely,

Ellen H. Munds

Executive Director

Acknowledgments This year’s Hoosier Storytelling Festival is sponsored by your school; Storytelling Arts of Indiana; the Indiana Arts Commission with the support of the National Endowment for the Arts and the Arts Council of Indianapolis; the City of Indianapolis; and the following private and corporate sponsors:

Marsh Supermarkets The National Bank of Indianapolis Target Tube Processing Christel DeHaan Family Foundation Sierra Club Somerset Financial Services Andrew Hamaker Frank Basile Lewis & Kappes Ice Miller Books for Life Foundation Bingham McHale August Mack Stephanie Mannon Fred and Midge Munds Urology of Indiana Design Ogden Kline’s Quality Water Fifth Third Bank Central Indiana Community Foundation Printing Partners The Indianapolis Foundation Penrod Society Indiana Historical Society Cassis Design.

ii

Teaching Tools and Lesson Plans

Table of Contents SECTION..................................................................................PAGE

Teaching Storytelling What Is Storytelling? ...................................................................3 Benefits of Storytelling in Education ...........................................3 Teaching Storytelling Games ......................................................5

Game 1 – Walks of Life (Gr. 3-12) ...............................................7 Game 2 – Fortunately, Unfortunately (Gr.K-12) ...........................9 Game 3 – Tongue Twisters (Gr.K-5)............................................11 Game 4 – Count Down (Gr. K-12) ...............................................12 Preparing to Tell Stories ............................................................13

Multi-Cultural Lesson Plans For African and African American Stories...................................14

1. Storysongs Activity (Gr. K-6) .................................................14 2. Photo Treasure (Gr. 3-12) .....................................................15 3. Sound Story Activity (Gr. K-6) ................................................17 4. Family Folktale Anthology/Culture Day (Gr. 5-12) .................18 For Childhood and Musical Stories.............................................19

1. Singing and Rhyming Games (Gr. K-5)...................................19 2. Zipper Rhymes and Songs (Gr. K-5).......................................20 3. Bill Harley’s Song Lesson Plans (Gr. K-6) ...............................20 4. Comparing Storysongs (Gr. 2-12)..........................................21 For Chinese and Chinese American Stories ................................22

1. “Why” Stories (Gr. K-5) ..........................................................22 2. Comparing Story Versions (Gr. 6-12).....................................23 3. Parallel Story (Gr. 3-12).........................................................24 4. Creating a New Ending (Gr.9-12)...........................................25 For Family and Personal Stories .................................................26

1. Important Place Floor Plan (Gr. K-12) ....................................26 2. Family and Friends (Gr. 4-12)................................................27 3. Mad, Sad, Glad, Scared (Gr. 1-12)..........................................28

More Multi-Cultural Lesson Plans ⇒

1

Teaching Tools and Lesson Plans

Table of Contents SECTION..................................................................................PAGE

Multi-Cultural Lesson Plans - Continued For Irish and Celtic Stories.........................................................29

1. Puzzle Stories (Gr. 1-12) .......................................................29 2. Riddle Stories (Gr. K-12)........................................................30 3. Readers Theatre (Gr. 3-12)....................................................31 For World Stories.......................................................................32

1. Comparing Stories (Gr. 2-12) ................................................32 2. Puppetry (Gr. K-12) ...............................................................33 3. Relay Stories (Gr. K-12) .........................................................34

About the Tellers Charlotte Blake Alston ...............................................................35 Cynthia Changaris .....................................................................36 Niall de Burca ............................................................................37 Bill Harley..................................................................................38 Beth Horner...............................................................................39 Marvel Micheale.........................................................................40 Bob Sander................................................................................41 Clara Yen...................................................................................42

Teaching Resources (Books and Recordings) Storytelling Books for Educators ................................................43 Multi-Cultural Resources............................................................45 Recordings ................................................................................52

2

Teaching Storytelling

What Is Storytelling? Each day we hear someone recapping his day, sharing the highlights of a movie, or reminiscing about good times. These are all perfect examples of storytelling. Not only do we observe these activities, we also participate in them, sharing our experiences with friends and family. This certifies that we are all storytellers! Platform storytelling, such as the Marsh Supermarkets Hoosier Storytelling Festival, varies little from our day-to-day tales. The key differences are a stage and hours of coaching and practice—captivating an audience is no easy task. Yet the value of storytelling is the same whether the story is told on a stage or on your front porch. Sharing stories builds community between tellers and listeners. Stories bind us together. If we know others' stories, we are less likely to judge or misunderstand them. Storytelling provides insight into someone’s history and culture, forcing us to look at a situation from another’s point of view.

Benefits of Storytelling in Education from Children Tell Stories, by Martha Hamilton and Mitch Weiss Storytelling is the oldest form of education. Cultures around the world have always told tales as a way of passing down their beliefs, traditions, and history to future generations. Stories capture the imagination, engaging the emotions and opening the minds of listeners. Consequently, any point that is made in a story or any teaching that is done afterward is likely to be much more effective. How Storytelling Benefits Student Writing adapted from Writing as a Second Language, by Donald Davis A renowned storyteller, author, and educator, Donald Davis teaches storytelling as a bridge between a child’s “first language” (gestures and speech) and “second language” (writing). Davis offers a pyramidal writing model with “telling” as its base level. Students begin writing a story by telling it, that is, talking through stories with fellow students who act as helpful listeners. This process is repeated until the story is ready to be translated into a written version (the middle level). Once the entire story is on the page, students edit and rework, adding details that make the story come alive (the top level). This approach allows struggling writers to use speech, gestures, and listening until they are bursting to write and read what they have written. Instead of starting with a blank page and ending with a final draft marred with red ink, students start with a willing listener and end with writing worth reading.

3

Benefits of Storytelling in Education – Continued from Children Tell Stories, by Martha Hamilton and Mitch Weiss How Children Benefit from Hearing Stories 1. Hearing stories stimulates the imagination. 2. Hearing stories instills love of language in children and motivates them to

read. 3. Hearing stories improves listening skills. 4. Hearing stories improves many language skills, such as vocabulary,

comprehension, sequencing, and story recall. 5. Hearing stories encourages creative writing. 6. When students listen to stories as a group they pick up on the many

catchwords and phrases that are found in the tales. These references become the basis for a classroom subculture.

How Children Benefit from Telling Stories 1. Storytelling improves self-esteem and builds confidence and poise when

speaking before a group. 2. Storytelling improves expressive language skills and stimulates inventive

thinking. 3. Storytelling improves class cooperation. 4. Choosing, learning, and telling a story is a process in which students are

learning every step of the way. a. They learn how to read with a specific purpose in mind and how to make

judgments about stories. b. Children begin to understand the difference between storytelling/reading

and visual media. c. They learn what it means to be a respectful listener and how to give

constructive criticism. d. They learn techniques for gaining and holding an audience’s attention

during an oral presentation (eye contact, use of voice, gestures, etc.) e. They experience personal growth through risk taking.

5. Children share more information about themselves, strengthening the student-teacher relationship.

Specific Benefits of Traditional Tales, Myths, and Legends 1. Folk- and fairy tales teach lessons without didacticism and stimulate

emotional development. 2. Hearing traditional stories from around the world creates an awareness and

appreciation of other ethnic cultures. 3. Knowledge of “old stories” (folktales, fairy tales, myths, and legends)

provides children with a frame of reference for the literature and culture they later encounter.

Teaching Storytelling Games ⇒

4

Teaching Storytelling Games adapted from Storytelling Games, by Doug Lipman Why Use Games? Games are a great way to introduce storytelling in the classroom. They can encourage participation from shy children who might quake at the prospect of telling a whole story individually. Games spark creativity, build confidence, and establish ground rules for safe storytelling. Games also are a good way to isolate and practice discrete storytelling skills, such as eye contact; body movement; vocal range; and making sure a story has a beginning, middle, and end. Preparing for Games Before you introduce a game, prepare yourself and your group. Make sure you have imagined the game yourself, created the necessary space to play, and gathered any needed materials. Set ground rules to create the emotional safety necessary for true play, eliciting contributions from students. Ask players to give their full, nonjudgmental attention to you and to speaking players. Remind students that mistakes are okay, but put-downs and teasing are forbidden. This applies to teacher “flubs,” too. Groups respond better when teachers explain the fact that they are attempting something new and may need practice, too. Introducing a Game Most of the games can be taught in 10 or 15 minutes. In this time period you will be able to demonstrate the game and offer turns to two or three players. Whenever possible keep your words of introduction to a minimum. When you call on a player for a contribution, call first on a player who you think understands what you want. Some of the games require sample stories. Tell them with enjoyment. Don’t try to memorize them. Don’t try to memorize the directions of the games. Instead, try to understand them and apply them to your group’s contributions.

Continued⇒

5

Teaching Storytelling Games - Continued Responding to Players Try to respond with respect and pleasure. Restate the contribution with a tone of approval, trying to repeat the player’s exact words. This can help the group understand what the player said. Here are some simple responses you can make to any player’s contribution: Thank you. Yes! Very good! Great! Marvelous! Wow! Good idea! Great thinking! That’s a way to solve that. That’s fascinating! (interesting... creative... ) That’s a new way to think about that! Dealing with Inappropriate Responses If a player’s response seems inappropriate, you can still treat it with respect: So you thought of...! I never thought of that! Interesting! That’s certainly a way to do it! Are you saying that...? Keep going! Then what? Again, remind students: Put-downs and teasing are off-limits.

Storytelling Warm-Up Games ⇒

6

Storytelling Warm-Up Games adapted from Storytelling Games, by Doug Lipman Game 1: Walks of Life Purpose – Players will learn to: Become comfortable performing in front of a group of people. Use body movements, including facial expression to convey a character. Decode body movements by observing physical details. Accept applause and feel more self-confident.

State Standards: Addresses Speaking Applications, part of English/Language Arts Standard 7 Grade Levels: Recommended for gr. 3-12. Space: An area the whole group can see, large enough for one to five players Game Summary: Players imitate the walk of someone in a certain occupation; the group tries to guess the occupation. Directions: 1. Have students sit at their desks or gather in your “community circle” area

where they can see players acting out movements. 2. Name and summarize the game. 3. Teach students to recite the third and fifth lines of this rhyme when you cue

them with the other lines: You: Here we come from Botany Bay Got any work to give us today? Class: What can you do? You: What’s the pay? Class: Show your stuff, and then we’ll say. 4. Try the whole rhyme, pointing to the students when it’s their turn to speak. 5. Tell the group you’ll go first to “show your stuff.” Cross the room with a

distinctive walk (bow-legged gait of a cowboy, strut of a runway model). 6. Call on players to guess your “Walk of Life.” Elicit details about why they

guessed that occupation and reinforce their observations. (“You’re right, I did walk slowly, like an astronaut on the moon, but I’m not an astronaut.)

Walks of Life, Continued⇒

7

Game 1: Walks of Life – Continued 7. If the group is stumped, walk again, adding more detail, such as a spinning

lariat. If the group is still stumped, you chose an unfamiliar occupation or the game is too hard and you should try a different one.

8. Do a second demo, if desired, and then get three or four volunteer players to

select and act out another occupation as a group. Give them a few minutes off in a corner and use that time with the remaining students to jot down occupation ideas in their journals or on slips of paper.

9. When the players are ready, help them lead the rhyme, do their walk, and

call on players who want to guess. If needed, players may repeat their walk, but if the group is still stumped, the “walker” should then tell his or her occupation.

10. Now have players stand straight, hands at their sides, making eye contact

with the group. Say, “Let’s have a 10 second round or applause.” (Count silently).

11. Discuss the importance of maintaining posture and eye contact and assure

them this will get easier with practice. Pass out compliments. Adaptations: For younger students, have them act out a verb or action word (dance, sing, write, jump). For older students, have them introduce themselves to the group before doing their walks or let individuals walk the occupation they would like to pursue after finishing their education. If students have trouble thinking of occupations, brainstorm ideas before you play the game, or prepare ideas on slips of paper and let players draw one slip. Ideas include: clown, wrestler, police officer, sailor, soldier, spy, or teacher.

More games⇒

8

Storytelling Warm-Up Games – Continued Game 2: Fortunately, Unfortunately adapted from Storytelling Games, by Doug Lipman Purpose – Players will learn to:

Develop a composite story. Practice taking turns. Make eye contact.

Pronounce a contribution clearly to the group. Add to a given story by improvising action. Distinguish positive from negative actions.

State Standards: Addresses Listening Comprehension, Organization and Delivery of Oral Communication, and Speaking Applications (parts of English/Language Arts Standard 7). Grade Levels: Recommended for gr. K-12 Space: Best done in a community circle area, where all players can easily see and hear each other, but can be done with students at their seats. Game Summary: Players take turns adding to a group story. The additions alternate beginning with the words “Fortunately... ” and “Unfortunately... ” The story ends with three consecutive additions beginning with “Fortunately....” Directions: 1. Begin a story, such as this one:

One day, we decided to go to the zoo. So we got up, got dressed, ate breakfast and left the house. We went to the bus stop to wait. But unfortunately... ” [Pause]

2. Ask: What do you think happened that was unfortunate or unlucky?

3. Call on a volunteer to add an “Unfortunately... ” such as,

Unfortunately, it started to rain really hard.

4. Interrupt, saying; But fortunately... [Pause]

5. Ask: Who can add something fortunate or lucky?

6. Call on a volunteer to add a “Fortunately... ” such as,

Fortunately, a big black limo pulled up to the bus stop. The driver rolled down the electric window and said, “Need a ride to the zoo?”

7. Continue calling for alternating additions until ready to end the story. End by calling for three “Fortunately’s... ” in a row.

Game adaptations⇒

9

Game 2: Fortunately, Unfortunately – Continued Adaptations: 1) Before or after the game, try reading or telling the story “Oh, That’s Good! No, That’s Bad,” from Stories in My Pocket by Martha Hamilton and Mitch Weiss. Tell the story in tandem with the class, directing them to give the alternate responses, “Oh, that’s good!” or “No, that’s bad!” as appropriate. You can also go to the Web page, Listen to Clow Storytellers in Action:

http://backpack.ipsd.org/clow/story_telling/st_listen.htm Scroll and click on this story to hear a recording of it by a student teller. 2) Vary the opening or destination (mall, arcade) to fit the age group. 3) To draw out shy players, insist that each player get only one turn. You may wish to call on shy players as soon as their hands go up and let the more outgoing players wait for the next opportunity. 4) Allow students to add more than one sentence. For example, ask students to use specific descriptive words and phrases to explain the action they added. For example, “It was raining really hard—so hard the world looked swirly and gray, as if we were behind a waterfall looking out.” 5) With older students, discuss how the positive and negative action could be changed to make the story more complex and interesting (e.g., repeating a pattern of three negatives and a positive). Tie this discussion to familiar literature and discuss how authors use positive and negative action to create a plot including problem/conflict, rising action, climax, and resolution.

More games⇒

10

Storytelling Warm-Up Games – Continued Game 3: Tongue Twisters Purpose – Players will learn to: Warm up their vocal chords and facial muscles Become comfortable performing in small groups

State Standards: Delivery of Oral Communication, part of English/Language Arts Standard 7 Grade Levels: Recommended for gr. K–5 Space: Three – five small group areas. Game Summary: Players sing a tongue twister to a familiar tune Directions: 1. Explain that vocal chords are like muscles—they need to be warmed up

before use—and that singing tongue twisters is a good way to do this. 2. Ask the class to repeat any favorite tongue twister, such as “Rubber baby

buggy bumper,” or “She sells seashells by the seashore.” Exaggerate your lip and mouth movements with each sound and ask players to do the same.

3. Next, have the class join you in singing the tongue twister over and over to

the tune of “Twinkle, Twinkle Little Star” (dropping the exaggeration). 4. Divide into groups of three to six and assign workspace to each group. 5. Ask for a volunteer to be the leader from each group. 6. Tell leaders to sing the tongue twister to the first line of “Twinkle, Twinkle,”

then look at the person on their left, who will sing the same tongue twister to the second line of “Twinkle, Twinkle," and so on. Demonstrate if needed.

7. After finishing the song, play begins again at a slightly faster speed. 8. Play continues to speed up until everyone’s tongues are “tied in knots.” Adaptations: 1) Ask each group to choose someone fast to sing in front of the class. 2) Have groups do the tongue twister without using the song. 3) Let groups of older students make up their own tongue twisters.

More games⇒

11

Storytelling Warm-Up Games – Continued Game 4: Count Down adapted from Look What Happened to Frog, Storytelling in Education, by Pamela J. Cooper and Rives Collins Purpose – Players will learn to: Portray a simple character using tone of voice Perform a simple, repetitive action in front of a large group

State Standards: Delivery of Oral Communication, part of English/Language Arts Standard 7 Grade Levels: Recommended for gr. K–2 Space: A small open area viewable by all Game Summary: Players use voice to portray a certain character counting in a specific way; listeners try to guess the character and the counting task. Assignment Ideas: Bank teller counting stacks of bills, miser counting gold, referee counting a knocked-down boxer, counting people in a crowded room, counting repetitions in an exercise class, counting down for lift off Directions:

1. Explain that each player will count in a special way to convey a character doing a certain task. Players will convey the characters through tone of voice and repetitive body movement. Listeners must guess the task and character.

2. Demonstrate a three-year-old counting out pennies on a table: One, two, (f)ree... Try to convey who you are with your voice and use only enough body movement to show what you are counting. If the class is stumped, repeat the task, using more body movement, skipping numbers, etc.

3. Ask for volunteer players. Whisper assignments to players in advance or let each draw an assignment from prepared slips of paper. Remind players to convey the character through voice and repetitive movement.

5. Call on a volunteer to go first. If the class is stumped, let the player repeat the task, using more body movement to convey props, setting, or character. Offer suggestions to players if requested. If the class is still stumped after one repeat performance, let the player tell what the assignment was and ask the class for ideas about how to convey the message.

Adaptations: Divide into small groups, let each group think of a task and character and select a player to enact their idea. Repeat to let more participate.

12

Preparing to Tell Stories After warming up with a storytelling game or two, tell a story to your students, then let them practice telling stories. Beginning storytelling activities are woven into the PDF file on Indiana’s academic standards, as well as the Multi-Cultural Lesson Plans section, pp 14-34.The following hints will help you tell your first story. Share these hints with your students to prepare them for telling their first stories and listening to others. What You Need: A storyteller, at least one listener, and a story. All three elements are necessary for storytelling to occur. One is not more important than the other. Storyteller’s Job: The story needs a beginning, middle, and end. The storyteller needs to picture the story in his/her mind. Tellers must see each scene of the story as if watching a movie. As the storytellers see the pictures, they describe to the audience what they are seeing. Some audiences will need more description if they are unfamiliar with the scene the storyteller is describing. For example, individuals who have never driven a tractor will need to be told step by step how to drive a tractor if it is important to the story. Listener’s Job: As the story is told, each audience member is responsible for making his or her own pictures of the story. Each person will have different pictures. If you ask each listener to describe the main character in the story you just told, you will be surprised at the different descriptions. Teller/Listener Feedback: The listeners are very important in sharing stories. Through facial expressions and responses, the storyteller receives feedback on the telling of the story. The storyteller might learn that he or she needs to slow down to give the listeners more time to comprehend the story or that the storyteller left out a vital link in the story and needs to go back and explain the link. For this reason, listeners must give 100% of their attention to the storyteller and the story. Listeners need to be respectful. It is very important to discuss the role of the listener with students so each storytelling experience is successful.

13

Lesson Plans for

African and African American Stories Curriculum Connections: Language Arts, Music, Social Studies Lessons and Resources 1. Storysongs Activity (Gr. K-6): Language Arts and Music

Songs often suggest a larger tale. Find and learn songs that tell a story. Have students listen to musical recordings or read “storysongs” from the following list, and then have students retell the song’s story in their own words. Have a “storysong” concert where volunteers from each class perform for the class or for the entire grade level. Storysong Resources: BOOKS Ahlberg, Allan. Mockingbird. Deutsch, Leonhard. A Treasury of the World's Finest Folk Song. Jones, Bessie. Step It Down: Games, Plays, Songs, and Stories from the Afro-

American Heritage. Lester, Julius. Uncle Remus: The Complete Tales, illustrated anthology. McLaughlin, Roberta. Folk Songs of Africa. Thomas, Joyce Carol. Hush Songs: African American Lullabies, illustrated

with lyrics and music. CDs Langstaff, John M. Songs for Singing Children. Lester, Julius. The Tales of Uncle Remus, four-CD set. Various artists. Family Folk Festival: A Multi-Cultural Sing Along.

More African and African American Lessons ⇒

14

2. Photo Treasure Hunt (Gr. 3-12): Music, Social Studies and Language Arts Ask students to locate photographs of African dancers, art (costumes, masks, statues), and musical instruments (log drum, gourds, conga drum, rattles, xylophone, talking drum) via print and online resources. Post pictures around classroom for discussion reference. Discuss storytelling and musical traditions in African culture:

In Africa, storytellers like Ms. Blake Alston and Ms. Micheale have a special name. Who knows what a West African storyteller is called? (Griots: They were honored historians/advisor, musicians/tellers, and ceremonial leaders.) In traditional West African cultures, storytelling and music were inseparable. Percussion instruments, especially, are very important. They range in size from tiny finger cymbals to huge bells. What is a percussion instrument and who found pictures of some? (One that is struck with a tool or the hands/fingers to produce sound—drums, pianos, cymbals) Certain percussion instruments were sacred and only chiefs and warriors were allowed to play them. Can anyone think of an example? (Drums were sacred and sometimes worshipped with sacrificial offerings.) What kind of drums did you find in your treasure hunt? (Log drum, conga drum, talking drum) What other African instruments were used in the festival? Who found pictures of these instruments? (Djembe, berimbau, nkoning, mbira, shekere, 21-stringed kora) What instruments in other cultures are similar to some of these? (The 21-stringed kora has a long neck like the banjo, the bala (balo) is like the xylophone, the shakere is a shaker like the maraca, the berimbau looks like a violin bow, and the djembe is a tall drum like a conga drum.) Another primitive instrument consisted of several different-sized stones of that were placed in a row and struck. What modern instruments are similar to this? (This was the forerunner of the xylophone and marimba.) Likewise, shouting or singing through a hollow tube or blowing into a conch shell, or animal horn, led to the invention of horn and brass instruments. So many instruments that we associate with other cultures actually have their roots in Africa.

Continued ⇒

15

Photo Treasure Hunt - Continued Ms. Blake Alston used different musical instruments with her stories, which is typical in many traditional African cultures. But in such cultures, neither Ms. Blake Alston nor Ms. Micheale would have played any instruments. Why? Whose role was it to play instruments? (Generally, only males played instruments.) What do you think the women and others in the audience did while the musicians played? What else might they do? (They joined in the singing and dancing. Onlookers participated in the activity by clapping hands and tapping feet. According to tradition, onlookers shouted words of encouragement to the performers. Actually then, there was no audience; everyone in the community was actively involved in the music-dance performance in one-way or another.) So an important characteristic of traditional African music and dance is that it involves the whole community. When and where do we do participate like this in our culture? (At some churches, sporting events, pop music concerts.) Besides music, dancers, masks, props, and costumes were use? Who found pictures of these? (Let everyone see them). Do we have similar traditions in our cultural events? (People paint their faces as sports spectators or pop/rock stars, and such performers use dancers, props, and sets.) What other pictures of artwork, dancers, and festivals did you find? (Draw out similarities and differences in the types of artifacts and traditions among the various African cultures and between traditional African cultures and contemporary North American culture. Emphasize how the cultural exchange has contributed to our distinctly American culture through musical forms (such as jazz) language (banjo, yam, boogey man) and other ways.) Photo Treasure Hunt Resources BOOKS Chiasson, John. African Journey. Murray, Jocelyn. Cultural Atlas of Africa. Nketia, J.H. Kwabena. The Music of Africa. MAGAZINES – National Geographic or Smithsonian ENCYCLOPEDIAS – World Book or Comptons ONLINE RESOURCES

African Instruments http://www.ncf.ca/~el965/instruments Performing Arts of West Africa http://www.si.umich.edu/chico/UMS/Drummers/index.html The Oral Tradition: Doudou N’Diaye Rose (West African griot) http://www.si.umich.edu/chico/UMS/Drummers/doudou.html

16

3. Sound Story Activity (Gr. K-6): Language Arts and Music

Gather or improvise these instruments: hand drum jingle bells tambourine large dinner bell claves (resonant wood sticks) tiny tinkling bells two-tone wood block cabasa small xylophone

Begin the story by playing one of the instruments and asking what it sounds like. For example, a student may respond, “It sounds like a man pushing a broom in the street.” “Wonderful!" you say. "Our main character is a man brushing a broom in the street." Have each student play an instrument and continue the story in that fashion. Continue until all instruments have been used and there is a resolution to the story. Instruments to Improvise: Send home a list of materials for students to bring in lieu of the above instruments, such as: toy musical instruments comb and waxed paper teaspoons pan lids for cymbals washboard and stiff brushes wooden spoons and recipe box for claves empty paper towel holder sealed at ends and filled with beans for rattles large coffee cans with lids or large pots without lids for drums Sound Story Resources: BOOKS Aardema, Verna. Bringing the Rain to Kapiti Plain: a Nandi Tale. Aardema, Verna. Rabbit Makes a Monkey of Lion. A Swahili tale. Aardema, Verna. Traveling to Tondo. A Tale of the Nkundo of Zaire. Aardema, Verna. Why Mosquitoes Buzz in People's Ears. A West African Tale. Grifalconi, Ann. The Village of Round and Square Houses, picture book. Haley, Gail. A Story, a Story: an African Tale, picture book with rhythm. Lester, Julius. Uncle Remus: The Complete Tales, illustrated anthology. Warren, Fred. The Music of Africa: An Introduction, illustrated guide. CDs Lester, Julius. The Tales of Uncle Remus, four CD set of recorded stories.

17

4. Family Folktale Anthology/Culture Day Activities (Gr. 5-12): Language Arts and Social Studies

Many of the stories you heard at the festival are rooted in African culture, where storytelling is a shared experience that captures the imagination of all ages and draws all cultures together to hear each other. In the same way, stories, poems, and music can convey your own history, tradition, and culture. Each of us has a national, ethnic, and family heritage to explore and honor. First, you will create a family tree and an anthology of family folktales.

FAMILY ANTHOLOGY DIRECTIONS: Have students to interview their parents and create a family tree (sticky notes and flipchart paper or Inspiration software are ideal for this). Aim for each student to identify the names and birth years of their paternal and maternal grandparents, parents, and siblings, as well as the nationality or ethnicity of at least one ancestor. Next, have students interview grandparents, parents, and siblings to compile an anthology of family folktales. Aim for one tale from each generation plus a personal story. For story ideas see pp 26-28, Family and Personal Stories. Let each student tell a family folktale. Let students create a front and back cover for their family anthology, creating their own family crest, if desired. Then staple the family tree and stories into the book. Discuss the cultures that exist among your students. CULTURE DAY DIRECTIONS: Organize a school-wide Culture Day in the gym or cafeteria with traditional dress, artifacts, games, and foods. Set up tables to display family anthologies, artifacts, and photos. Play music from different cultures. Invite student, staff, and/or parent volunteers to tell stories, dance, or play an instrument from their native cultures. Family Folktale and Culture Day Resources: BOOKS Courlander, Harold. A Treasury of African Folklore: the Oral Literature,

Traditions, Myths, Legends, Epics, Tales, Recollections, Wisdom, Sayings, and Humor of Africa.

Dundes, Alan. Mother Wit From the Laughing Barrel: Readings in the Interpretations of Afro-American Folklore.

Faulkner, William J. The Days When the Animals Talked: Black American Folktales and How They Came To Be.

Finnegan, Ruth. Oral Literature in Africa. Grifalconi, Ann. The Village of Round and Square Houses, picture book. Hamilton, Virginia. Her Stories, anthology of African American women. Illus. Hughes, Langston. The Book of Negro Folklore.

18

Lesson Plans for

Childhood & Musical Stories Curriculum Connections: Language Arts and Music Lessons and Resources: 1. Singing & Rhyming Games (Gr. K-5): Language Arts and Music PREPARE: Choose one or two of the singing games, rhymes, and playparty games from the list below. INTRODUCE singing and rhyming games. Raise your hand if you know any rhyming hand games, like “I don’t wanna go to Mexico,” “Lemonade...crunchy ice,” or “Gimme a break.” Let volunteers demonstrate to the class. If there are enough willing volunteers, let them teach the game to another child or pair. (I you don’t know these games, your student will, or will offer similar ones DISCUSS why these games are still popular and how they are learned. EXPLAIN the activity: Rhyming games like these can be found in nearly every culture going back generations. They are passed on as you learned them, from one person to another. Now you’ll have a chance to learn a new game. Each of you will have a chance to browse one of the books I’ve provided and find a new game to learn and perform for the class. If your game requires other players, you may teach it to volunteers. TELL children they may take turns browsing during “free choice” time. With just a few books, you may need a week for students to find and learn a new game. PLAY. Allow students to perform their rhymes or song for the class. Singing and Rhyming Game Resources: BOOKS Chase, Richard. Singing Games and

Playparty Games. Milnes, Gerald. Granny, Will Your Dog

Bite and Other Mountain Rhymes. Schwartz, Alvin. And the Green Grass

Grew All Around. Songs, games, riddles, street rhymes, and more.

CDs and CASSETTES Hallum, Rosemary. Fingerplays and

Footplays, cassette only. Harley, Bill. CDs include:

50 Ways to Fool Your Mother Lunchroom Tales Monsters in the Bathroom There’s a Pea on My Plate You’re In Trouble

19

2. Zipper Rhymes and Songs (Gr. K-5): Language Arts and Music PREPARE to teach the Bill Harley zipper song, Sitting Down to Eat. If you do not sight read, ask the music teacher to help you learn the tune. Prepare the lyrics on display media, if needed. EXPLAIN that a zipper song is one that repeats the same pattern using different words. Do you know, “There was an old lady who swallowed a fly?” Try singing the first verse and second verses to show how the song “zips” all the additional animals inside each successive verse. READ-ALOUD the picture book, Sitting Down to Eat. Let students guess the next animal to arrive at snack time before you turn each page. TEACH and SING the song, using display media for lyrics (you may just need to list the order of the animals). EXTENSIONS: 1) Let students write more verses to the song, adding stranger and stranger animals. 2) Put students in small groups and give them other zipper song or storysong books. Rotate among the groups, helping each to learn the song, and then let the groups teach the songs to the class Zipper Song and Storysong Resources: PICTURE BOOKS Dann, Penny. The Wheels on the Bus. Harley, Bill. Bear’s All Night Party. Harley, Bill. Sitting Down to Eat. Kovalski, Maryann. The Wheels on the Bus. Taback, Simms. There Was an Old Lady Who Swallowed a Fly. AUDIO RECORDINGS Buck, Dennis. Car Songs, cassette. Harley, Bill. There’s a Pea on My Plate, CD/cassette. Harley, Bill. Play It Again: Favorite Songs, CD/cassette. Palmer, Hap. Early Childhood Classics, CD.

3. Bill Harley Song Lesson Plans (Gr. K-6): Language Arts, Music Go to Bill Harley’s Web site: http://www.billharley.com Click “For Teachers” then click the link to songs for grades K-3 or grades 4-6. Click any song title listed to download its lesson plan with lyrics, discussion, and activity suggestions in PDF format. (“For Teachers” has story lesson plans.

More Childhood and Musical Lessons ⇒

20

4. Comparing Storysongs (Gr. 2–12): Language Arts, Music PREPARE. Read the books Abiyoyo and Subira, Subira and learn their songs. Ask a couple of musical parents to bring instruments and come in to help. INTRODUCE music as a soothing potion. For centuries, music has played many key roles in storytelling. Some stories are only told through song. Sometimes music has a special role in the action of a told story. One common role of music is as a soothing potion. Can anyone think of an example? (The harp that soothed Fluffy, the three-headed dog in “Harry Potter and the Sorcerer’s Stone;” the harp that put the giant to sleep in Jack and the Beanstalk). We’ll read and compare two stories, Abiyoyo and Subira, Surbira, where music plays a key role. READ-ALOUD. Divide the class into two or four groups. Give each group one of the books and choose a reader. Instruct the readers to simply read the songs if they don’t know the tunes. If there are parent volunteers, they may read the books. Switch books and read again. TEACH the songs yourself or with your parent volunteers. COMPARE the stories. Have groups create a multi-media presentations or story posters with 8½” X 11” sheets verbally or visually depicting:

Title Setting Main

Characters Problem Solution Illustration

Subira, Subira Abiyoyo

Storysong Resources:

PICTURE BOOKS

Mollel, Tololwa. Subira, Subira. African folktale about a girl who must face a lion to learn how music can win her disobedient little brother’s cooperation. Lyrics and music included.

Seeger, Pete. Abiyoyo. African American folktale about a boy and his father shunned by villagers for their music and magic until the two face the terrible giant, Abiyoyo. Lyrics and music included.

21

Lesson Plans for

Chinese and Chinese American Stories Curriculum Connections: Language Arts and Social Studies Lessons and Resources: 1. “Why” Stories (Grades K-5): Language Arts

READ and TALK: Introduce the “why story” concept: All cultures have “pourquoi” or "why" stories. These are stories that were told when a child asked questions such as: "Why do dogs and cats fight?" or "why does the sun shine during the day and the moon at night?" For younger students, read aloud, Why Rat Comes First, by Clara Yen. Ask: Is this is a fiction or non-fiction story? Is any part of the story true? If the story is fiction, what purpose does it serve? (To entertain, to explain the order of the Chinese calendar cycle, or to teach the value of cleverness.) RETELL: Let students practice retelling Why Rat Comes First. You may put students in small groups and let them tell it collectively, going round robin, or let each student practice retelling the whole story with a partner. WRITE: Ask your students to write their own “why” stories, such as “Why Lightening Always Beats Thunder” or “Why Chickens Don’t Have Lips.” Let students browse from the books listed below to get ideas. Students then may pair up and tell their “why” stories to each other, while partners take notes. Next, let students use the notes taken to help them recall and write their stories. TELL: Ask for volunteers to tell their “why” stories to the entire class.

“Why” Story Resources: Burgess, Thornton. Mother West Wind "Why" Stories. Dayrell, Elphonstone. Why the Sun and The Moon Live in the Sky. Hamilton, Martha and Weiss, Mitch. How and Why Stories: World Tales Kids

Can Read and Tell, illustrated anthology of very short stories to retell. Mama, Raouf. Why Goats Smell Bad. Yen, Clara. Why Rat Comes First, picture book.

22

2. Comparing Story Versions (Gr. 6-12): Language Arts and Social Studies INTRODUCE AND READ: Though we often associate China with Japan, they are distinct countries with different customs, languages, races, political systems, and religious traditions. They often have been enemies at war throughout history. The Luminous Pearl, a Chinese folktale, and the Japanese-inspired, The Warrior and the Wise Man, offer a chance to compare the two cultures. Divide the class into two groups and give each a copy of one book. Let the groups choose a reader or choose to take turns reading and showing the pictures round robin. Give the groups time to finish reading, then trade books and repeat. COMPARE: Use a display medium to lead and record a discussion comparing the setting, characters, rising action, climax, and solution. RETELL: Divide the two groups into smaller groups and let students choose the story they liked best to retell to their group. Direct group members to listen and give positive feedback about the tellers’ use of voice, gestures, eye contact, and timing. PRESENT: Let each of the small groups create a poster or a PowerPoint presentation comparing the two stories. Each person can create one screen, for example, on character or setting, or a similar section on the poster. Have volunteer(s) from each group make oral presentations. DISCUSS THEMES: What is the theme of The Luminous Pearl? The Warrior and the Wise Man? Bravery and honesty can win over trickery and greed. Strength must always be in the service of wisdom. Compare the older brother, We Ling, with the warrior, Tozaeman? Who was capable of violence? (Violence and violate both come from the root word “viol,” meaning, “force.” Both of these men used force: to filch from the Dragon King and steal from Wa Jing; to take from the five demons.) Do you think Toeman’s and Wa Jing’s approach is valid today? Comparing Stories Resources: PICTURE BOOKS Torre, Betty (reteller). The Luminous Pearl. Brothers pit honesty and

bravery against trickery and greed to win a princess. Wisniewski, David. The Warrior and the Wise Man. Twins pit strength

against wisdom in the quest to win their father’s kingdom.

23

3. Parallel Story (Gr. 3-12): Language Arts and Social Studies INTRODUCE and READ-ALOUD: The Weaving of a Dream (An aging, poor Chinese widow spends three years weaving a silken tapestry, only to have her masterpiece stolen by the Eastern Wind. She asks her three sons, one by one, to retrieve it for her, but only one, Leje, accepts the quest. He is rewarded for his loyalty and courage.) Folk tales often teach lessons or convey the importance of a culture’s traditions or values. This story has some elements in common with familiar European fairy tales. As you listen to this tale, look for familiar lessons or values, settings, characters, problems, and solutions. Read the book aloud. DISCUSS: Ask questions and record responses on a display medium. What lessons and values does this story convey? What other tales does this remind you of? Why? What lessons, values, settings, characters, problems, and solutions are similar? Characters: Leje’s brothers = the stepsisters in Cinderella or Beauty’s

sisters in Beauty and the Beast Problems: Poverty, loss of family treasure in both stories Lessons: Hard work is rewarded and laziness punished in both Values: Perseverance, enduring injustices and caring for ones’ parents

are valued in The Weaving of a Dream and Beauty and the Beast. RETELL: Divide the class into small groups and let them practice retelling the tale as it was read. Divide into pairs and let partners collaborate on creating a modern day parallel story in their own culture. TELL or WRITE: Let students choose to tell their parallel stories individually or collaboratively with partners, then let students write their stories and read or tell them to the class. Parallel Story Resources: PICTURE BOOKS Brett, Jan (reteller and illustrator). Beauty and the Beast. Hautzig, Deborah. Beauty and the Beast, Step-into-Reading book, gr. 2–3. Heyer, Marilee. The Weaving of a Dream.

24

4. Creating a New Ending (Gr. 9-12): Language Arts READ: WAVERLY JONG: “The Rules of the Game” from The Joy Luck Club. DISCUSS the theme: What does Waverly’s mother mean when she says, “The strongest wind cannot be seen?” (In “battle,” it is better not to announce your strategy or plans. To get what you want, keep quiet; perhaps act as if you do not want it. When wronged, do not shout and cry; ignore. Act as if you don’t care. Silence can hurt more than words.) How do Waverly and her mother live by this proverb? Waverly uses it to get salted plums from her mother and the chance to play in chess tournaments. Waverly also applies the proverb to her chess game by hiding how clever she is. Her mother uses the proverb to punish Waverly with silence at the end. WRITE or TELL a new ending. Let students pair up and discuss what Waverly’s next move will be. The ending they tell or write should explain why Waverly and her mother are angry, how and if they reconcile,and who remains truest to the proverb, “Strongest wind cannot be heard.” Let partners share their stories with the class. Creating a New Ending Resources: Tan, Amy. The Joy Luck Club, novel. Stories of women in pre-1949 China who fled communism,interwoven with stories of their American-born daughters’ vastly different lives. Some stories suitable for students gr. 10-12.

More Chinese Tales for Retelling and Reading Aloud: PICTURE BOOKS Kimmel, Eric. Ten Suns, picture book. Lawson, Julie. The Dragon’s Pear, picture book. Singer, Marilyn. The Painted Fan, picture book. Yolen, Jane. The Emperor and the Kite, picture book. Young, Ed (translator and illustrator). Lon Po Po, a Chinese Red Riding Hood

picture book.

25

Lesson Plans for

Family and Personal Stories Curriculum Connections: Language Arts and Social Studies Lessons and Resources: Family and Personal Story Resources: Davis, Donald. Telling Your Own Stories. Davis, Donald. Writing as a Second Language. Harris, Sandra. Getting Started in Storytelling, see Ch. 4 on life stories. Winston, Linda. Keepsakes: Using Family Stories in Elementary Classrooms. 1. Important Place Floor Plan (Gr. K-12): Language Arts and Visual Skills

adapted from Telling Your Own Stories, by Donald Davis EXPLAIN the activity. Remembering places can be a good way to remember stories. Think of a place where you had a lot of family get-togethers. Where were you: at your house, your grandma’s, a restaurant? Draw a floor plan of that place. Include the outdoors if you like. Make notes of important events and incidents that happened in that place and in certain rooms. SHOW example on display medium. Point out rooms you’ve labeled (K=kitchen, DR=dining room, etc.) and notes about happenings. PROVIDE 8-1/2 X 14 or 11 X 17 PAPER and 10 to 20 minutes for drawing. Have students work in landscape format and leave four inches of blank space along the right edge for additional notes. Encourage light sketching with pencils. Have students title the floorplan at the top, mark the rooms, add notes, and write their names on their papers. SHARE: Let students share their floorplans with the class or in small groups, naming a couple of important things that happened there. Then, allow time for students to add further notes to their floor plans. File in “stories folder.” EXTENSIONS: 1) Use prompt, “Take us to your special place for a memorable holiday meal.” Give students two minutes to use their floor plan and make notes on an index card describing what was memorable. Let students tell their stories in small groups, answer questions, and accept compliments. 2) Let students take the floor plans home and ask their family about what happened there. The next day, let them choose an incident to tell about. Again, allow two minutes for note taking, then follow the process as before.

26

2. Family and Friends Timeline (Gr. 4-12): Language Arts and Math adapted from Telling Your Own Stories, by Donald Davis PREPARE your own timeline as an example, using display media. INTRODUCE the activity. Remembering people can help you uncover family stories. Making a timeline will connect you with key people in your life. PROVIDE gridline paper. Try using ½” gridlines and taping two sheets together to make it banner-sized, or use software such as Timeliner. EXPLAIN your example. Put your name on your paper and label it “Family and Friends Timeline.” Draw a horizontal timeline at the top. Subtract your age from your year of birth and write this at the line’s left end. Make your date of birth the centerline of this timeline. At the right end, put today’s date. Place your lifespan arrow from your birth date to present. Continue lifespan arrows for each person in your family and important friends or neighbors, if you wish. Position them in relation to the timeline. NOTE: Omitting arrowhead indicates person is deceased. For multi-generation families, use the birth date of the oldest living person as the centerline for your timeline.

b. 3/4/64: K. Lee (Mom)

d. 4/5/00b. 3/15/66: S. Lee (Dad)

M. Lee (me)

10/14/03

b. 7/31/90

1977

EXTENSIONS: 1) Put the class in small groups and ask them to generate at least three questions about family timelines that might led to interesting stories. Use your own timeline as an example to generate the first question. After the groups generate questions, have a spokesperson share them with the class as you write them on a display medium. 2) Assign students to use one of the questions to interview their family members, taking notes on index cards and asking questions to get more details, especially descriptions of the main characters. 3) Let students try out their stories in small groups, then have volunteers from each group share a story with the class. SAMPLE QUESTIONS: What do you remember about the night I was born? Can you tell about a favorite person who helped you through tough times? Who was the life of the party in your family and why?

27

3. Mad, Sad, Glad, Scared (Gr. 1–12): Language Arts, Intra-Personal Skills PREPARE. Get blank paper for each student and a display medium divided into quadrants, each part labeled, “Mad, Sad, Glad, or Scared” (MSGS). Seat students in small groups at desks or tables or on the floor if needed. INTRODUCE the activity. You may think you have no stories to tell. But we all tell stories, sometimes two-minute tales about a great play we made on the court, sometimes fat, juicy lies to scare our little brothers and sisters. An MSGS Table is a fun way to remember stories we might want to tell. PREPARE PAPER. Pass out paper and have students fold it top to bottom, then left to right so it opens in quadrants. Have them label each quadrant, starting with “Mad,” in the upper right corner and continuing clockwise. PROMPT: Think of something that really made you mad and jot down a few words to remind you of that. Give an example: “Late one night, someone stole our basketball goal.” Write on the display medium, “Basketball goal stolen.” Let one or two students share to spark others’ memories. Tell students not to worry if they can’t think of anything; they might remember something later. Repeat this process for all prompts. (Students may include personal or family memories [Mom blew up when my brothers ate a whole bag of chocolate chips she was saving to bake cookies.]). PROCESS : Let students share their ideas in small groups and allow time for more ideas to be added. Stop here and have students keep their tables in a folder, letting them add to it each day. EXTENSIONS: Get volunteer tellers from each group. Let them tell one “story” to their groups, allowing groups to ask questions (Then what happened?) and give positive feedback. Repeat the process with different volunteers. Continue with new tellers daily for a week.

28

Lesson Plans for

Irish and Celtic Stories Curriculum Connections: Language Arts, Social Studies and Problem Solving Lessons and Resources: 1. Puzzle Stories (Gr. 1–12): Language Arts

PREPARE a story from the list below or elsewhere. Copy the story and cut it into sections or scene. Put each scene on a separate page, numbered. INTRODUCE the activity. We’ll put the pieces of the story together like a puzzle. First we’ll read the story, then each of you will tell your part in turn. READ the story with students following the order of the page numbers. START the storytelling. Encourage details that help listeners form mental pictures. Prompt tellers to let the story flow as if told by one person. TELL a second time. Give scenes to different students to retell. DISCUSS. How did the story change from the first to the second time? Ask for positive comments about descriptive details, mental pictures, voice, gestures, and actions added or deleted. ADAPTATIONS: To give everyone a part to tell, retell a third time, divide into groups and use multiple copies of the story, or tell a new story. Give some tellers only illustration pages that they must paint with words to describe to their listeners. If telling more than one story, discuss the similarities and differences in action, characters, setting, and theme. Irish and Celtic Puzzle Story Resources: ANTHOLOGIES (with illustrations) Doyle, Malachy. Tales from Old Ireland, “Lusmore and the Fairies,” (gr. 4-6). Haviland, Virginia. Favorite Fairy Tales Told in Ireland, “The Old Hag’s Long

Leather Bag” (gr. K-3). PICTURE BOOKS MacGill-Callahan, Sheila. The Seal Prince (gr. 6-12, Romeo and Juliet theme). Mayer, Marianna. The Black Horse (gr. 5-12).

29

2. Riddle Stories (Gr. K-12): Language Arts and Problem Solving CHOOSE a grade-level-appropriate riddle story from the list below. Preview the story, so you’ll know how to pose the riddle and let the students solve it. INTRODUCE riddle stories. What is a riddle? Do you know any? A riddle is any puzzling question or problem that must be solved before the story ends. Who remembers a riddle from a Harry Potter book? (In The Sorcerer’s Stone, Hermione solved the potions riddle to get through the wall of fire.) Riddles are very common in Irish and Celtic tales and many other folktales. TELL (don’t read) the tale, stopping to pose the riddle and allow guessing: “Patrick O’Donnell and the Leprechaun” – When Patrick marks the bush, the leprechaun mutters a riddle under his breath: Mark your spot well or you’ll be confused But when you return, you’ll find you’ve been used Though I am no cheat, I’ve told you no lie But my gold I’ll keep, you’ll soon see why. The Children of Lir – When the badger comes to the cave where the swans are held captive, he says: Be of good cheer, we have a plan

To marry the Woman to the Man Not by earthquake, wave, or fire We’ll trick the queen with something higher.

“The Changeling of Green Knoll” – When Iain asks how to rescue his son, the wise old man says: A Bible will protect your soul when you’re inside that that grassy knoll

But Rooster’s job, it must be done for you to save your own true son. Let guessers use their ideas to finish the story. If your listeners are stumped, ask leading questions, ask what details might be clues, or tell more of the story to provide more clues. Finish the story yourself if need be. Irish and Celtic Riddle Story Resources: Ardaugh, Philip. Celtic Myths and Legends, illustrated anthology including

“The Changeling of Green Knoll” for gr. 6–12 Haviland, Virginia. Favorite Fairy Tales Told in Ireland, illustrated anthology

including “Patrick O’Donnell and the Leprechaun” for gr. K–3 MacGill-Callahan, Sheila. The Children of Lir, picture book for gr. 3–6 More Riddle Resources: Cousineau, Phil. Riddle Me This: A World Treasury of Word Puzzles, Folk

Wisdom, and Literary Conundrums. Lewis, J. Patrick. Riddle-Lightful: Oodles of Little Riddle-Poems Phillips, Bob. World's Greatest Collection of Daffy Definitions; World's

Greatest Collection of Riddles. Shannon, George. More Stories to Solve: Fifteen Folktales from Around the

World.

30

3. Readers Theatre (Gr. 3-12): Language Arts and Social Studies PREPARE various scripts using the resources listed below. INTRODUCE the activity: In readers theatre, readers tell stories by reading and “walking through” a script. There are minimal costumes, sets, lights, and props or none at all, but the readers can act as much as they wish. Readers may, but don’t have to, memorize. They follow stage directions in the script (e.g., Stumble downstage and die). Downstage is toward the audience, upstage is away from the audience. Stage left and right are as if facing the audience. ORGANIZE groups. Divide the class into groups, assign a director, and explain the director’s role, which is to start rehearsal and help others learn their parts. Allow time for groups to choose a script. REHEARSE: Find space where groups can rehearse. Readers must mark their lines, develop suitable voices and gestures and know their stage directions. PERFORM: Set ground rules for “safe” performances. Let each group perform. Allow time for positive comments, questions, and suggestions. DISCUSS the differences between readers theatre and traditional storytelling. What do you like/dislike about each form? Which do you find easier to perform? Why? Which do you think requires more audience involvement? Irish Stories for Readers Theatre (both are picture book anthologies) Doyle, Malachy. Tales from Old Ireland, “The Soul Cages” for gr. 9-12 or

“Fair, Brown, and Trembling” for gr. 2-8. Haviland, Virginia. Favorite Fairy Tales Told in Ireland, “The Old Hag’s Long

Leather Bag” or “The Widow’s Lazy Daughter” for gr. 3-8. Other Readers Theatre Resources: Fredericks, Anthony. Frantic Frogs and other Frankly Fractured Folktales for

Readers Theatre. Fredericks, Anthony. Tadpole Tales and Other Totally Terrific Treats for

Readers Theatre. Goode, Diane. Diane Goode’s Book of Giants and Little People, picture book

anthology. Try “Managing Molly” and “Big Mouth,” which follow the pattern of many traditional Celtic tales.

Hamilton, Martha and Weiss, Mitch. Through the Grapevine: World Tales Kids Can Read and Tell.

Sierra, Judy. Multicultural Folktales for the Feltboard and Readers' Theater. Shephard, Aaron. Stories on Stage, a book of scripted stories.

31

Lesson Plans for

World Stories Curriculum Connections: Language Arts, Social Studies, and Visual Arts Lessons and Resources: 1. Comparing Stories (Gr. 2-12): Language Arts and Social Studies

INTRODUCE the project. You will read five different versions of the Cinderella story. Each of you will make a poster comparing and illustrating at least (3 – 4) of the different versions. Your poster will look like this:

Title Setting Main

Characters Problem Solution Illustration

NOTE: You may wish to add theme and symbol columns for older students. READ ALOUD to younger students, one story per day. For older students, rotate the books among small groups so each group reads one per day. CREATE POSTERS (or multi-media presentations). Give each student 4” X 6” colored index cards, lined on one side, at least five of one color for each story. Let students use whole unlined cards for the Title and Illustration. Cut the remaining cards in half vertically for use in other columns. SHARE AND RETELL: Let students share and explain their posters to the class. Point our similarities and differences. Let volunteers retell their favorites. DISCUSS: Which Cinderella story came first? (See Yeh-Shen dedication page.) Comparing Stories Resources: PICTURE BOOKS Doyle, Malachy. Tales from Old Ireland, “Fair, Brown, and Trembling.” Hooks, William. Moss Gown, a Southern version of Cinderella and King Lear. Louie, Ai-Ling. Yeh-Shen, A Cinderella Story from China. San Souci, Robert. The Talking Eggs, an African American Cinderella story. Steptoe, John. Mufaro’s Beautiful Daughters, an African Cinderella story.

32

2. Puppetry (Gr. K-12): Language Arts and Visual Arts INTRODUCE the project. You will get to make a simple puppet to help you retell a nursery rhyme, story, song, or poem from around the world. You may choose to work alone, with a partner, or in small groups. READ ALOUD examples of the above genres from the resources below. Help students divide into groups and allow them browsing time to choose a work. Record the groups and the titles of their works on a posted list. CREATE PUPPETS. Gather or send home a list of materials needed, such as paper lunch bags, large uncooked potatoes, plain paper plates, or light-colored socks. Invite parents to help on puppet-making day. Use buttons, yarn, string, glue, felt markers, crayons, etc., to decorate puppets. Use Popsicle stick handles for potato or paper plate puppets. REHEARSE. Let students rehearse in groups or pairs. Match “singles.” TELL. Let students tell their story. Allow time for positive feedback and questions after each. Space performances to promote good listening. Puppetry Resources: Bufano, Remo. Book of Puppetry. Hunt, Tamara. Pocketful of Puppets: Never Pick a Python for a Pet & Other

Animal Poems. Hunt, Tamara. Pocketful of Puppets: Mother Goose. Marsh, Valerie. Puppet Tales. Literature Resources for Puppetry: ANTHOLOGIES Chase, Richard. American Folktales and Songs. Goode, Diane. Diane Goode’s Book of Giants and Little People, a picture book

collection of stories and poems. Hamilton, Martha and Weiss, Mitch. Through the Grapevine: World Tales Kids

Can Read and Tell, illustrated. Hamilton, Martha and Weiss, Mitch. Stories in My Pocket: Tales Kids Can Tell Holt, David and Mooney, William (editors). Ready-to-Tell Tales. Includes Beth

Horner’s, “The Mischievous Girl” and “The Hideous Creature.” Holt, David and Mooney, William (editors). More Ready-to-Tell Tales. World

tales including Beth Horner’s, “The Young and Dashing Princess.” Rylant, Cynthia. Waiting to Waltz: Childhood Poems.

33

3. Relay Stories (Gr. K-12): Language Arts and Social Studies EXPLAIN the relay story: In a relay story, the first person starts the story and then passes it on to the next person, who adds to the story and passes it on to the next person, continuing until the story is finished. We’ll try this first with a story I’ll read to you. READ ALOUD a familiar fairy tale, such as Beauty and the Beast, or let children take turns reading sections of an easy reader version aloud. RETELL the story as a class, letting volunteers who want to participate to tell a portion of the story. If someone skips a part, don’t worry. See if someone else remembers to add that part in later or if the story works without it. Try giving tellers the “T” sign to show it’s time to pass the story on or let students use a “talking stick” and pass it on to the next volunteer when they reach a stopping place. DISCUSS what students liked about how the story was told. Who gave a really good description of a person, place, or feeling? Which tellers used one of their five senses to make a word picture listeners could see in their heads? Who used gestures well or made their voices sound like certain characters? RETELL a second time with different volunteers. DISCUSS how the story was different, not only in what happened and the sequence of events, but also in the descriptions of places, people, and feelings. Why do you think the stories turned out differently? (Emphasize the effect not only of different tellers, but also of feedback from other listeners.) ADAPTATIONS: For reluctant tellers, try writing brief phrases on index cards to denote which part of the story each will tell, and pass these out after reading the story aloud. With younger students, try a second familiar story relay, or try relaying the same story with smaller and smaller groups until one person can tell the whole story. With older students, read and relay-tell an unfamiliar story from the resources listed below or elsewhere. Relay Story Resources PICTURE BOOKS Brett, Jan (reteller and illustrator). Beauty and the Beast. Hautzig, Deborah, Beauty and the Beast, Step into Reading book for gr. 2-3. ANTHOLOGIES Goode, Diane. Diane Goode’s Book of Giants and Little People, illustrated. Hamilton, Martha and Weiss, Mitch. Through the Grapevine. World tales. Hamilton, Martha and Weiss, Mitch. How and Why Stories. World tales.

34

About the Tellers

Charlotte Blake Alston Types of Stories: Original and traditional African and African American

Extensions: See p. 14, “Lesson Plans for African and African American Stories.”

Background: After two decades of teaching, from preschool through graduate level, Philadelphian Charlotte Blake Alston is now one of the most honored and sought-after performers in the country. Encouraged by her father, she began to learn and recite the dialect poems of African American poet Paul Lawrence Dunbar at a young age. Charlotte’s talents now breathe life into traditional and original African and African American stories, songs, and poems. She studied African storytelling with the acclaimed Senegalese griot Djimo Kouyate. (A griot fulfills the highly honored roles of musician/storyteller and advisor/historian in West African cultures.) Keeping with this tradition, Charlotte’s stories often incorporate the 21-string kora, the djembe (drum), and other folk instruments. Charlotte was honored to be one of the few Americans selected to perform at the first International Storytelling Field Conference, held in Ghana in 1999. In 1997, she was the first storyteller to perform with the Philadelphia Orchestra and has been invited back each year, delighting sell-out crowds. Charlotte continues to host a storytelling concert series at Carnegie Hal. Her melodious voice has narrated documentaries, such as the awarding-winning Family Name on PBS. Described as clever and passionate, the richness and power of her storytelling talent are true gifts to listeners and tellers alike.

Web Sites: http://www.charlotteblakealston.com/ Lists programs, reviews, and recordings available. To see study guide for Charlotte’s “Playing on the Downbeat,” go to either: http://www.pgharts.org/education/study_guides.cfm http://pghards.org/educatons/study_guides.cfm > Playing on the Downbeat Works: Descriptions of these recordings are on Charlotte’s Web site.

Bit O’ This, Bit O’ That, cassette and CD. Fun, upbeat traditional African and African American stories and songs for ages 5 to adult.

Wadin’ in the Water, cassette and CD. Traditional African American freedom stories for ages 9 to adult.

The Raccoon Story, cassette and CD. Traditional African American folktales featuring Raccoon the trickster, suitable for all ages.

Pearls at the Foot of the Bed, cassette and CD. A tribute to Charlotte’s greatest inspiration; her father, John Blake, Sr., for ages 12 to adult.

35

About the Tellers

Cynthia Changaris Types of Stories: Traditional world folktales, fables, and fairy tales Extensions: See p. 32 , “Lesson Plans for World Stories.” Background: A native of Charlotte, North Carolina, where her family tree dates back to the American Revolution, Cynthia Changaris grew up with four siblings and large extended family gatherings filled with laughing, singing, and storytelling. As a child, she collected and sang folk songs, teaching herself to play the guitar at age 13 and mastering the dulcimer as an adult. After earning credentials as a nurse practitioner and educator, Cynthia started teaching music to preschool children. In 1985, she began to study the art of storytelling with masters like Donald Davis. Now a popular regional teller, she has performed for audiences as small as two and as large as 15,000. Her talent and dedication earned her the Distinguished Service to Storytelling Award in 1993. Currently a resident of Louisville, Kentucky, Cynthia has performed at the Mayor’s Winterscene and Summerscene, the renowned Corn Island Storytelling Festival, and as the featured teller in the Missouri River Storytelling Festival. For Cynthia, storytelling is about connecting people: to their roots and dreams, to other cultures, and to the wellsprings of their own imaginations. Whether raising goose bumps with a haunting American folktale or spinning a fairy tale of delight, her genuine, rhythmic style captivates audiences with traditional tales from around the world Works: I’m Not Sleepy Yet, video for young children.

Spin Me a Tale, 1996 Parent’s Choice Honor Award-winning cassette for

older children.

36

About the Tellers

Niall de Búrca Types of Stories: True stories of Irish Diaspora, world tales, original stories Extensions: See p. 29, “Lesson Plans for Irish and Celtic Stories.” Background: Storyteller Niall de Búrca grew up in Galway in the West of Ireland, a region steeped in Celtic myth and legend. Many of his tales take place in the province of Connacht’s villages and islands, reflecting the rich traditions of the western seaboard. Niall also specializes in true historical accounts of Irish Diaspora, the dispersion of Irish people to continental Europe and Austral-Asia, an experience he knows first-hand. Niall lived in New Zealand for many years and began his storytelling career there in 1992. Since then, Niall has performed for more than 300,000 students of all ages in schools and libraries worldwide. His “Storytelling as a Tool of Education” workshops have won praise from educators. Niall has been featured at many festivals, on stage, and on radio and television. A resident Irishman once again, his home festival credits include The Cúirt International Festival of Literature, Féile na nDéise, and the Cape Clear International Storytelling Festival. In 2001, he produced the first storytelling series for Ireland’s National Museum of Country Life. Noted for the diversity of his work, Niall has added to historical accounts and original material by gathering tales from his travels to New Zealand, Australia, Argentina, and Europe. His work is committed to showing the ability of art to increase children’s self-worth and sense of balance with the world. With tremendous energy and humor, his stories convey valuable life lessons and delight listeners with the sheer joy of language. Works: Hey Mr. Gutenberg and Other Tales, cassette. Original and traditional tales

from Ireland and overseas. Niall de Búrca’s Favourite Tales, cassette. Tales with lots of audience

participation for ages 10 and under. The Old Crow, cassette. Best loved traditional stories from Ireland and other

countries for ages 11 to adult.

37

About the Tellers

Bill Harley Types of Stories: Childhood, humorous and musical stories; historical accounts

Extensions: See p. 19, “Lesson Plans for Childhood and Musical Stories.”

Background: Dubbed a “Garrison Keillor for kids,” Bill Harley is one of the premier storytellers in the country, drawing huge crowds at national and regional festivals. Bill grew up in Indianapolis, where he was “the victim of a very normal childhood,” which spawned a wealth of hometown stories. Graduating college with a degree in religion, Bill went on to direct school programs in peaceful conflict resolution and has worked in schools as an Artist in Residence with the Rhode Island State Council for the Arts. Still active in community projects and education, he is a popular keynote speaker at regional and national conferences on education and children. Bill has also been a leader in the Pokanoket Watershed Alliance working to save the Runnins River and Hundred Acre Bay, close to his Massachusetts home . His art reflects such concerns. In his 2001 performance at The Children’s Museum with the Indianapolis Chamber Orchestra, Bill musically recounted the hilarious adventures of a single raindrop, illustrating the entire watershed cycle. He has won national awards for every one of his children’s recordings, including two Grammy nominations, and he is a member of the National Storytelling Network’s Circle of Excellence. Bill has been a regular commentator on National Public Radio’s “All Things Considered,” since 1991. His listeners often find themselves blinking back tears one minute and aching from belly laughs the next. Bill is known for his ability to bring out the kid in all of us.

Web Site: http://www.billharley.com (includes custom lesson guides.)

Selected Works: See above web site for descriptions of these works.

STORY RECORDINGS, cassette and CD. The Battle of the Mad Scientists (Grammy-nominated) Come On Out and Play Cool in School Dinosaurs Never Say Please From the Back of the Bus Wacka Wacka Woo and Other Stuff Weezie and the Moonpies (Grammy-nominated)

SONG RECORDINGS, cassette and CD. Big, Big World Down in the Backpack (new release) 50 Ways to Fool Your Mother Lunchroom Tales Play it Again There’s a Pea on my Plate You’re In Trouble

PICTURE BOOKS Bear’s All Night Party, ages 5 and up Nothing Happened, ages 5 and up Sarah’s Story, ages 5 and up Sitting Down to Eat, ages 3 and up

VIDEO Who Made This Mess? A storytelling and musical video featuring Bill’s band, The Troublemakers; rollicking songs; and hilarious stories

38

About the Tellers

Beth Horner Types of Stories: World stories, American folktales, personal stories Extensions: See p. 32, “Lesson Plans for World Stories.” Background: Known for her vivacious stage presence and a warm, energetic style, Beth Horner has performed at such noted venues as the National Storytelling Festival, the Festival of Stories on Martha’s Vineyard, and the Ravinia Festival in Chicago, the city she now makes her home. She often accompanies herself on the autoharp as she tells stories that resonate with humor and music. Beth strikes a balance between the traditional and the contemporary. She draws from Missouri folktales, family stories of the Civil War, world myths and legends, as well as original tales of childhood farmyard escapades. Born in Boone County, Missouri, Beth spent her summers in the Ozarks with a grandmother who told her fairy tales, a mother who read her poetry and novels, and a father who shared tales of notable and questionable family ancestors. Beth began her storytelling journey as a children’s librarian and drama instructor. Now a touring storyteller for 19 years, her background has made Beth much in demand as speaker and educational seminar leader. Her workshops and residencies in schools focus on story creation, personal and family stories, poetry and song writing, and verbal expression. Beth’s goal as a teller is inspire her audiences to dip into the wellsprings of their own imaginations. “When I’m telling a story, there are 50 different movies going on in the minds of the listeners.” And whether those movies are mysterious or hilarious, listeners are captivated by the magic of Beth Horner. Web Sites: http://www.storytelling.org/Horner/default.htm Works: See the above Web site for descriptions of the following works.

PUBLISHED STORIES “The Mischievous Girl” and “The Hideous Creature,” from Ready-to-Tell Tales, edited by Holt & Mooney. “The Young and Dashing Princess” from More Ready-to-Tell Tales, edited by Holt & Mooney.

AUDIO RECORDINGS Encounter with a Romance Novel, cassette and CD for teens and adults. An Evening at Cedar Creek, cassette and CD for children and adults. Pipeline Blues, CD only for ages 12 to adult.

39

About the Tellers

Marvel Micheale Types of Stories: African American folktales, traditional fairy tales and fables, stories about choices and values Extensions: See p. 14, “Lesson Plans for African and African American Stories.” Background: Marvel Micheale began using storytelling in her classroom to challenge and inspire her alternative school students in Portland, Oregon. A believer in the power of children’s self-expression, she implemented the Kids’ Voices Karry Literary Project in the fall of 2000. Now an accomplished performer, Marvel released a CD of children’s stories in 2001. Her repertoire includes stories to inspire a positive self-image, summon the courage to take a stand, learn lessons from animals, and develop a sense of kinship with those who aren’t “family.” The Indianapolis Star profiled Marvel in April 2003, highlighting her recent performance of “Hair Tales: Stories of Black Women and Black Hair.” She has been a featured teller at the White River Folk Festival at Connor Prairie and is a contract artist for several venues, including Barnes and Noble Bookstore and The Children’s Museum of Indianapolis. “She gives storytelling a new breath!” says Museum staff member Ieava Grundy, and Marvel describes her style as “The Art of Just Telling It.” Whether through African American folk tales, original stories, or fairy tales, Marvel’s stories are sure to provoke laughter and thought about the world in which we live. Works: Marvelous Stories 4 Little People, CD for young children.

40

About the Tellers

Bob Sander Types of Stories: Family and personal stories, traditional world folktales, literary stories, Indiana history stories Extensions: See p. 26, “Lesson Plans for Family and Personal Stories.” Background: Since 1985, Midwest audiences have enjoyed Bob Sander’s original and traditional stories and music. A small-town Hoosier with German and Scotch-Irish roots, Bob spent 10 years as a folk musician and has traveled the United States, Canada, Mexico, the Caribbean, and Europe. He and his wife and three children now live in Rocky Ripple, a small town surrounded by Indianapolis. Bob has performed at the prestigious National Storytelling Festival, the Corn Island Storytelling Festival and the Illinois Storytelling Festival, among others. With frequent engagements in libraries and schools, he performs annually for more than 30,000 children. Now the resident storyteller for the Indianapolis Museum of Art, Bob has been commissioned to develop and perform stories for museums and corporations, including his recent work for the Indiana Historical Society, “Diggers and Dreamers: The Canal Age in Indiana.” In 2001, he was awarded a Creative Renewal Fellowship from the Arts Council of Indianapolis and The Frank Basile Emerging Stories Fellowship for his story “Fathers and Sons.” Bob’s easy, understated style conveys keen insight and wit. He often interlaces his stories with audience participation and his skillful folk music renditions. Whether sharing a humorous family story or rich world folktale, Bob’s tales stir the heart. Web Site: http://www.yaindy.org/catalogpages/artistpages/sander.html Comprehensive list of Bob’s school programs offered through Young Audiences of Indiana. Contains multiple teacher flyers (lesson plans) for many types of storytelling.

41

About the Tellers

Clara Yen Types of Stories: Chinese and Chinese American folktales, family stories

Extensions: See p. 22,“Lesson Plans for Chinese and Chinese American Stories.”

Background: Growing up in Los Angeles, Clara Yen told her first story to get out of trouble when she whacked her brother on the head with a checkerboard. Since then, Clara has been collecting and telling tales around the country.

In the 1940’s, Clara’s parents arrived in America from China to attend graduate school, planning to return home afterwards. But when Mao Tse-Tung seized power, they decided to stay here, fearful even to talk of their loved ones left behind. After Nixon’s historic visit to China in 1972, Clara’s parents began to speak more openly about their own early lives in China, describing relatives she would never meet and places she could never see—except in stories! With a growing awareness of her Chinese roots, Clara moved to Taiwan and spent two years getting to know her cousins and taking art lessons from an uncle. She then returned to California and tried various jobs until she discovered the joy of teaching children. Clara studied storytelling with well-known regional teller Gay Ducey, and her second career took flight. She has been featured at the National Storytelling Festival in Tennessee and many western regional festivals, including the Sierra Storytelling Festival. Clara has been a teller-in-residence for Oakland and San Francisco schools and is now resident storyteller for the Dublin, California Public Library.

Though world events shattered her parents’ beloved childhood homes, Clara’s stories have preserved their priceless memories of China and their loved ones who stayed behind.

Web Sites: http://hallkidspoetry.com/fairy_tales_folk_tales_myths/827.shtml Reviews Clara’s book, Why Rat Comes First, part of Hall Kids Poetry retail site. http://www.folkmusic.com/f_music.htm Scroll to read descriptions of Rainbow Tales, Too featuring Clara’s version of “From Good to Bad,” and Rainbow Tales, featuring Clara’s “The Clever Wife.”

Works: See above Web sites for descriptions of the following works. PICTURE BOOKS Why Rat Comes First: A Story of the Chinese Zodiac. A “how and why” story explaining how the animals of the 12-year Chinese calendar cycle were chosen and why Rat won the honor of being first. AUDIO RECORDINGS Rainbow Tales, CD. Includes “The Clever Wife” by Clara Yen (IMCPL jCD 398.2 RAI) Rainbow Tales, Too, CD. Includes “From Good to Bad” told by Clara Yen (IMCPL jCD 398.2 RAI), astory from Sweet and Sour Tales from China by Carol Kendall and Yao-wen Li.

42

Teaching Resources (Books and Recordings)

DESCRIPTION: Most resources are in the Indianapolis Marion County Public Library (IMCPL). Others may be ordered through tellers’, publishers’, or retail Web sites. The resources listed here are in three categories: 1. Storytelling Books for Educators—Books about teaching storytelling skills. 2. Multi-Cultural—Picture books and anthologies of stories to read and retell. 3. Recordings—Festival tellers’ CDs, audiocassettes, and videos and more. 1. Storytelling Books for Educators: How to teach storytelling and use it in the classroom, mainly for teachers or for older students in performing arts programs. Many contain stories for retelling by younger students. Awakening the Hidden Storyteller, by Robin Moore. For families, but suitable for teachers who view the classroom as a family community. Dozens of ready-made activities from 5–20 minutes long that use a building-block approach to develop storytelling skills. Includes exercises to create a safe atmosphere, use body language and vocal techniques, select and prepare stories for telling, and develop a sense of time. Shambhala Publications, 1991. 153 pp. Beyond the Beanstalk: Interdisciplinary Learning Through Storytelling, by Lynn Rubright. Connects storytelling to writing, drama, science, listening, movement, music, and world cultures. Includes activities, detailed instructions, and stories ready to tell. Published 1996 by Heinemann Portsmouth, NH. 176 pp. Children as Storytellers, by Kerry Mallan. A teacher’s guide to using storytelling in the classroom with short, simple activities easily incorporated across the curriculum. Excellent examples of various story maps. Reprinted by Heinemann, Portsmouth, NH. 87 pp. Children Tell Stories, by Martha Hamilton and Mitch Weiss. Includes: Handouts to copy Story activities for language, science, social studies, math, art, and music. Stories to tell for students, gr. 2–5 or gr. 6–12

Also goes beyond the basics for secondary teachers of advanced or performing arts students. Includes six-week storytelling unit, how to plan student storytelling events, and detailed chapter on coaching students in body language, props, and other advanced techniques. Published 1990 by Richard C. Owen Publishers, Inc. 209 pp.

More Storytelling Books for Educators ⇒

43

Getting Started in Storytelling, by Sandra Gutridge Harris. For aspiring tellers, teachers, and older students serious about this performing art. Chapters for students and teachers contain prompts, tips, and activities. Includes life stories chapter. Published 1994 by Stonework Press, 67 pp. Look What Happened to Frog, by Pamela Cooper and Rives Collins. A gem for educators. Includes 87-page chapter of classroom storytelling activities divided into grade-level categories. Back of the Contents page lists these 65 different activities, most of which require minimal explanation and teacher preparation. Published 1992 by Gorsuch Scarisbrick. 183 pp. The Storytelling Coach, by Doug Lipman. For experienced storytellers who lead workshops, but useful to teachers, as well. Includes a “Coaching in the Classroom” chapter on pp. 195 – 222, which explains what coaching is, its key principles, and how to apply them in school. Also includes a section on students coaching each other. Especially good resource for middle, high school, and performing arts teachers. Published 1995 by August House. 250 pp. Storytelling Games, by Doug Lipman. Wonderful collection of storytelling games organized into four subject areas: 1) Mastering Oral Communication, 2) Learning about Language, 3) Exploring Places, Periods, and Peoples, and 4) Practicing Math, Science, and Thinking Skills. Fun games that clearly address skills in state academic standards. Published 1995 by Oryx Press. 169 pp. Writing as a Second Language, by Donald Davis, renowned storyteller, author, and educator. Presents a pyramid model of writing. The first level is talking through stories to fellow students who act as helpful listeners. The next level is translating stories into a written version, and the final level is to edit and rework, adding details that make the story come alive. Appendix B alone, which lists of plot, character, and setting prompts to elicit writing ideas, is worth the price. Published 2000 by August House Publishers. 139 pp.

Multi-Cultural Resources ⇒

44

2. Multi-Cultural Resources: Picture books and anthologies of stories for read-aloud and retelling, organized into the following categories: AFRICAN AND AFRICAN AMERICAN CHILDHOOD AND MUSICAL CHINESE AND CHINESE AMERICAN FAMILY AND PERSONAL IRISH AND CELTIC WORLD (tales from origins other than African, Chinese or Celtic)

AFRICAN AND AFRICAN AMERICAN STORIES The Boy and the Ghost, by Robert San Souci. Picture book tale of young Thomas, who must summon all his courage and kindness to face a ghost and complete the quest that will save his family from poverty. Reading level gr. 3-8; interest level gr. 1-8. (May be too scary for preschoolers.). Published 1989 by Simon and Schuster. 30 pp. Her Stories, told by Virginia Hamilton. 1995 Laura Ingalls Wilder award-winning anthology of “her” tales all focusing on African American women. Includes animal tales, supernatural stories, folkways, legends, fairy tales, and true tales; most 2-3 pages and each beautifully illustrated. Excellent or retelling by students gr. 3-12. Scary stories may be inappropriate for pre-schoolers. Published 1995 by Blue Sky Press (Scholastic). 110 pp. Jackie Tales, by Jackie Torrence, nationally known African American teller. Treasury of American folk tales, many of African American tradition, such as “Br’er Rabbit’s Dilemma” and the scary tale “The Hairy Man.” Large, close-up photos of Jackie Torrence as she tells illustrate her techniques. Stories are “scripted” with sound effects and body language. Excellent for teachers and students gr. 5-12. Published 1998 by Avon Books. 238 pp. Len Cabral’s Storytelling Book, by Len Cabral and Mia Manduca. A how-to book containing many traditional African and world tales, with detailed “storyboards” for each tale that can be easily adapted for retelling by students gr. 5-12. Chapter 7 has student storytelling activities. Published 1997 by Neal-Schuman. 234 pp. Misoso: Once Upon a Time Tales from Africa, retold by Verna Aardema. Illustrated anthology of twelve tales. “The Boogey Man’s Wife” and “Half-a-Ball of Kenki” uses rhyme, rhythm, repetition, and humor. Glossaries, a map, and source notes for each tale provide insight into the various African cultures. Published 1994 by Apple Soup Books (Alfred A. Knopf). 88 pp.

More African and African American Stories

45

Mufaro’s Beautiful Daughters, by John Steptoe. Caldecott Honor award-winning picture book. African Cinderella story of two daughters, one kind, one mean, sent by their father to vie for the king’s love as most worthy and most beautiful in the land. Readers learn that beauty truly is deeper than appearances. Reading level gr. 3-8; interest level gr. K-6. Published 1987 by Lathrop, Lee and Shepard Books. 30 pp. The People Could Fly: American Black Folktales, told by Newberry winner Virginia Hamilton. Anthology of tales nearly 25 tales from five to 15 pages each. For use as teacher’s resource or for retelling by students gr. 5-12. Wonderfully illustrated with black and white airbrushed drawings. Published 1985 by Alfred Knopf. 178 pp. A Story, A Story, retold by Gail E. Haley. 1971 Caldecott Award-winning picture book. Tells how Ananse, the spider man, used trickery to capture Leopard, Hornet, and Fairy as demanded by the Sky God in exchange for his golden box of stories. Excellent examples of rhythm and repetition. Reading level gr. 3-6; interest level gr. pre-K-4. Published 1970 by Atheneum Books. 32 pp. Why the Crab Has No Head, by Barbara Knutson. Striking, black and white picture book explaining how Crab’s pride gave the Creator of Earth and Sky reason to leave him headless. Reading level gr. 2-4; interest level gr. pre-K-3. Published 1987 by Carolrhoda Books, Inc. 20 pp. Why Leopard Has Spots: Dan Stories from Liberia, collected by Won-Ldy Paye and Margaret H. Lippert. Six simple stories with beautiful black and white illustrations for read-aloud and re-telling, including “Why Spider Has a Big Butt.” Reading level gr. 3-12; interest level gr. 2-6. Includes glossary. 50 pp. CHILDHOOD AND MUSICAL STORIES Abiyoyo, by Pete Seeger. Picture book adaptation of a South African folktale. Villagers shun a father and son due to the boy’s constant ukulele playing and the father’s meddlesome magic. But when the giant, Abiyoyo, terrorizes the village, the boy’s music and his father’s magic save the day. Score and lyrics included. Reading level 2-5; interest level pre-K-6. Published 1986 by Simon and Schuster. 42 pp. And the Green Grass Grew All Around, by Alvin Schwartz. “Folk poetry from everyone, many set to familiar tunes (musical scores provided). Includes, “On Top of Spaghetti,” “Oh My, No More Pie,” “Mine Eyes Have Seen the Glory of the Closing of the School,” and other favorites. Reading level gr. 2-4; interest level gr. K-5. Published 1992 by HarperCollins. 193 pp.

More Childhood and Musical Stories ⇒

46

Over the Candlestick, collected by Michael G. Montgomery and Wayne Montgomery. Picture book collection of favorite nursery rhymes and the real stories behind them. Did you know the “pig” stolen by Tom the piper’s son was really a fruit-filled pastry? And Jack won a year’s worth of good luck if he jumped over the candlestick without catching fire. Includes well-know musical rhymes such as, “London Bridge,” and “Jack and Jill.” Reading level gr. 4-8; interest level gr. 1-12. Published 2002 by Peachtree Publishers. 27 pp. CHINESE AND CHINESE AMERICAN STORIES The Dragon’s Pearl, retold by Julie Lawson. Richly illustrated picture book tells of a poor country boy who sells grass to support his mother. When drought comes, his search for green grass leads him to a magic pearl and danger that transforms his life and saves his land from drought. Reading level gr. 3-8; interest level gr. pre-K-6. Published 1992 by Clarion Books. 27 pp. The Emperor and the Kite, by Jane Yolen. Caldecott Honor-winning picture book. The smallest, neglected daughter of the emperor rescues him from his prison tower with her kite, saving his life and empire, and earning a place of honor at his side, above her other sisters. Reading level gr. 2-6; interest level gr. pre-K-5. Published 1988 by Philomel Books. 28 pp. Lon Po Po, translated and illustrated by Ed Young. A Caldecott award-winning picture book of the Red Riding story from China. Three children home alone are fooled by a wolf impersonating their grandmother. Together, they find a way to outsmart the wolf, save themselves, and learn a lesson. Reading level gr. 2-6; interest level gr. pre-K-4. Published 1999 by Philomel Books. 30 pp. The Luminous Pearl, retold by Betty Torre. Picture book tale of two brothers, whose opposite strategies to find the Luminous Pearl and win the hand of Princess Mai Li lead one to great reward and the other to shame. A gender role reversal Cinderella story. Reading level gr. 4-8; interest level pre-K-3. Published 1990 by Orchard Books (Frankline Watts, Inc.). 28 pp. The Painted Fan, by Marilyn Singer. Bright Willow, a poor farmer’s daughter, must marry evil Lord Shang, though she loves Seahorse. When Shang discovers this, he sentences Seahorse to death and Bright Willow to an impossible quest for the Great Pearl. Little does he know her secret Painted Fan will be his undoing. Reading level, gr. 3-8; interest level gr. 2-8, due to length of text. Published 1994 by Morrow Junior Books. 38 pp.

More Chinese and Chinese American Stories ⇒

47

Ten Suns, by Eric Kimmel. Beautifully illustrated picture book of a “why” story myth. When the ten suns, children of the eastern sky emperor, decide to walk across the sky together instead of alone, they fry the earth. Shun, emperor of the world sends an archer destroy them, but then realizes one sun must be spared or the people will die of cold and darkness. Will Shun’s messenger reach the archer in time? Reading level gr. 4-8; interest level gr. pre-K-3. Published 1998 by Holiday House. 30 pp. The Tiger’s Whisker, by Harold Courlander. Thirty-one tales, from Asia, the Middle East, and the Pacific for read-aloud or retelling. Includes four Chinese tales from three to 10 pages each and section of notes on stories. Reading level gr. 4-6; interest level gr. 1-6. Published 1995 by Henry Holt. 170 pp. Why Rat Comes First, retold by Clara Yen. Picture book explains how the Jade King chose the animals of the 12-year Chinese calendar cycle and why Rat beat Bull to be first in the cycle. Reading level gr. 2-3; interest level pre-K-3. Published 1991 by Children’s Book Press. 32 pp. Yeh-Shen: A Cinderella Story from China, retold with rich complexity by Ai-Ling Louie. Yeh-Shen’s cruel stepmother kills the one comfort Yeh-Shen had—her pet fish. Unknowingly, this sets in motion magical events that lead to Yeh-Shen’s happy marriage and her stepfamily’s downfall. Reading level gr. 3-8; interest level gr. K-6. Published 1982 by Philomel Books. 30 pp. FAMILY AND PERSONAL STORIES Keepsakes, by Linda Winston. For elementary teachers. Comprises an entire family storytelling curriculum with dozens of ideas, handouts, and student work samples for various family story activities. Lots of explanation and background included, so it takes some time to find what is useable. Chapters cover intergenerational family stories, personal stories, food and celebrations, immigration stories, and stories from family photographs. Published 1997 by Heinemann, Portsmouth, NH. 138 pp. Telling Your Own Stories: For Family and Classroom Storytelling, Public Speaking, and Personal Journaling, by Donald Davis. Purse-sized paperback any teacher can apply with minimal preparation. Includes over fifty prompts easily adapted to help beginning storytellers recall memories and generate plots. Activities included. Published1993 by August House. 127 pp.

Irish and Celtic Stories ⇒

48

IRISH AND CELTIC STORIES The Black Horse, by Marianna Mayer. Picture book tale of Tim, orphaned son of a poor king whose life is changed when he befriends a mysterious black horse. A quest to aid the Princess of the Mountains and outsmart the evil Sea King has a double-surprise ending. Reading level gr. 3-8; interest level gr. 2-12. Published 1984 by Dial Books. 40 pp. (may be too long for gr. pre-K-2). Brave Margaret, by Robert San Souci. Picture book with girl-appeal for reading and retelling. Loner Margaret craves adventure and embarks on a quest leading her to battle a sea serpent, solve a puzzle, face a giant, and rescue one friend and one seeming enemy. Reading level gr. 3-8; interest level gr. K-6. Published 1999 by Simon and Schuster. 38 pp. Celtic Myths and Legends, as told by Philip Ardagh. Picture book anthology of ancient Celtic tales. Includes map of Celtic homelands, discussion of myth vs. legend, name glossary, and tales appealing to boys, including two Arthurian legends. Recommended are “The Changeling of Green Knoll,” a riddle story, and “Lug—The Master of Masters.” Published by Dillon Press. 48 pp. The Children of Lir, by Sheila MacGill-Callahan. Picture book story of the children of King Lir, turned into swans by their jealous stepmother until their animal friends help them solve the riddle that breaks the curse. Reading level gr. 3-5; interest level gr. K-12. For read-aloud, reading, and retelling. Published 1993 by Dial Books. 32 pp. Favorite Fairy Tales Told in Ireland, retold by Virginia Haviland. Illustrated anthology for students gr. 3-12 to read and retell. Lots of dialog for readers theatre adaptations, a “Jack” tale, and a leprechaun tale. Published 1961 by Little, Brown, and Co. 91 pp. The Seal Prince, by Sheila MacGill-Callahan. Picture book tale of a princess who rescues a baby seal, that later captures her heart as the Seal Prince. She must choose between duty to her parents and kingdom and her true love. Published 1995 by Dial Books. 30 pp. Tales from Old Ireland, retold by Malachy Doyle. Seven tales with stylized illustrations, including, “Fair, Brown, and Trembling,” an Irish Cinderella story, and “Lusmore and the Fairies.” Reading level gr. 4–8; interest level gr. K-12. Includes Gaelic pronunciation guide. Published 2000 by Barefoot Books. 96 pp.

World Stories ⇒

49

WORLD STORIES Aesops’ Fables, retold and illustrated by Jerry Pinkney. Picture book anthology of more than 60 fables, from one-half to two pages, many with full-page illustrations. Reading level gr. 2-4; interest level gr. pre-K-5.. Published 2000 by SeaStar Books. 87 pp. Beauty and the Beast, retold and illustrated by Jan Brett. Picture book of the original tale. Beauty, the kindest of three daughters, replaces her father as ransom for the rose he took from the Beast. When the Beast releases her, she freely chooses to return. Reading level gr.3-6; interest level gr. pre-K-12. Published 1989 by Clarion Books. 28 pp. Beauty and the Beast, by Debra Hautzig. Step into Reading picture book that follows the traditional tale as above. Easier to read, smaller size for gr. 2-3; interest level gr. pre-K-3. Published 1995 by Random House. 48 pp. Cabbage Rose, by M. C. Helldorfer. Picture book tale of Cabbage, scorned for her plainness, whose life is changed by magic paintbrush with which only she can paint subjects that become real. Soon she is invited to paint for the royal family, meets the prince, and defines beauty for herself. Reading level gr. 2-4; interest level gr. K-5. Published 1991 by Bradbury Press. 30 pp. Diane Goode’s Book of Giants and Little People, by Diane Goode. Picture book anthology of poems and stories of fairies, ogres, elves, and giants; just right for retelling. Favorites include, “Big-Mouth and the Giant,” “Three Strong Women,” and “Managing Molly.” Reading level gr. 3-5; interest level gr. pre-K-8. How and Why Stories: World Tales Kids Can Read and Tell, by Martha Hamilton and Mitch Weiss. Illustrated anthology of short stories, each with tips for retelling. Includes section on general tips for telling stories. Reading level gr. 2-4; interest level gr. K-6. Published 1999 by August House. 96 pp. Moon Cakes to Maize: Delicious World Folktales, retold by Norma J. Livo. Dozens of stories with the theme of food. Categories include legends and beliefs, fables and rhymes, and noodleheads. Stories range from 1-20 pages. Suitable as a teacher’s resource or for retelling by students gr. 4-12. Published 1999 by Fulcrum Publishing. 181 pp. More Ready-to-Tell Tales, edited by David Hold and Bill Mooney. World tales from Japan to East Africa and Europe. Contains one Beth Horner story. For teachers and students gr. 6-12. Published 2000 by August House. 256 pp.

More World Stories ⇒

50

Moss Gown, by William Hooks. Picture book of a traditional Southern tale that combines the Cinderella story with elements of King Lear. Candace is misunderstood and rejected by her father and two greedy sisters, but a “gris-gris” woman’s magic helps restore Candace to her rightful place. Reading level gr. 3-6; interest level gr. 1-6. Published 1987 by Clarion Books. 48 pp. Noodlehead Stories: World Tales Kids Can Read and Tell, by Martha Hamilton and Mitch Weiss. Short, fun stories of 3–7 pages for primary and intermediate grades. Reading level gr. 3-6. Each story has tips for telling, including how to use your voice and gestures. Published 2000 by August House. 96 pp. Ready-to-Tell Tales: Sure-Fire Stories from American’s Favorite Storytellers, edited by David Hold and Bill Mooney. Forty-plus tales from various American cultures. Includes two Beth Horner stories. Each tale has telling tips to develop audience rapport and participation. Suitable for teachers and students gr. 6-12. Published 1994 by August House. 224 pp. Stories in My Pocket: Tales Kids Can Tell, by Martha Hamilton and Mitch Weiss. Illustrated anthology of short tales in storyboard form. Contains chapters for kids and teachers with classroom storytelling activities. Reading level gr. 2-4; interest level gr. K-6. Published 1996 by Fulcrum Publishing. 184 pp. The Story Vine, A Source Book of Unusual and Easy-to-Tell Stories from Around the World, by Anne Pellowski. Features text and accompanying diagrams for telling stories with simple media, such as string art, pictures, sand drawings, nesting dolls, finger play, and musical instruments. Many are simple enough for young children to tell. Reading level gr. 3 and up. 116 pp. Through the Grapevine: World Tales Kids Can Read and Tell, by Martha Hamilton and Mitch Weiss. Illustrated anthology of short stories, each with tips for retelling. Includes section on general tips for telling stories. Reading level gr. 2-4; interest level gr. K-6. Published by August House. 128 pp. Twenty Tellable Tales, by Margaret Read MacDonald. Audience participation folktales for the beginning storyteller, scripted with word emphasis and notes on telling for each story. Contains the exciting, boy-friendly Pacific tale, “Punia and the King of Sharks.” Excellent resource for students gr. 2-12 with chapters for teachers as well. Published 1986 by The H. W. Wilson Co. 220 pp. Twenty-Two Splendid Tales to Tell from Around the World, Volume One, by Pleasant Despain. Easy, fun tales to read, learn, tell, and hear for primary and intermediate grades. Reading level gr. 3-8. Includes European, Asian, and American tales, 3–4 pages each. Whimsical illustrations. Published 1994 by August House. 95 pp.

More World Stories ⇒

51

Twenty-Two Splendid Tales to Tell from Around the World, Volume Two, by Pleasant Despain. Easy, fun tales to read, learn, tell and hear for primary and intermediate grades. Reading level gr. 3-6. Includes European, Asian, and South, Central, and North American tales of 3–4 pages each. Whimsical illustrations. Published 1994 by August House. 95 pp. 3. Recordings: CDs, audiocassettes, and videos by Festival teller and others. Arranged by artist and genre. FESTIVAL TELLERS: Blake Alston, Charlotte: Broad repertoire, specializing in African and African American tales. See Charlotte’s Web site http://www.charloteblakealston.com for further descriptions and how to order:

Bit O’ This, Bit O’ That, cassette and CD. Fun, upbeat traditional African and African American stories and songs for ages 5 to adult.

Wadin’ in the Water, cassette and CD. Traditional African American freedom stories for ages 9 to adult.

The Raccoon Story, cassette and CD. Traditional African American folktales featuring Raccoon the trickster, suitable for all ages.

Pearls at the Foot of the Bed, cassette and CD. A tribute to Charlotte’s greatest inspiration; her father, John Blake, Sr., for ages 12 to adult.

Changaris, Cynthia: Specializing in world folktales, fable, and fairy tales.

I’m Not Sleepy Yet, video for young children.

Spin Me a Tale, 1996 Parent’s Choice Honor Award-winning cassette for older children.

Niall de Búrca: Repertoire includes traditional Irish and Celtic tales, historical accounts of the Irish dispersion to foreign lands, and original stories from travels in Europe, New Zealand, Australia, and Argentina.

Hey Mr. Gutenberg and Other Tales, cassette. Original and traditional tales from Ireland and overseas.

Niall de Búrca’s Favourite Tales, cassette. Tales with lots of audience participation for ages 10 and under.

The Old Crow, cassette. Best loved traditional stories from Ireland and other countries for ages 11 to adult.

More Recordings ⇒

52

Harley, Bill: Specializing in music, childhood stories, and storysongs. See Bill’s Web site http://www.billharley.com for further descriptions, how to order, and more recordings.

STORY RECORDINGS, cassette and CD. The Battle of the Mad Scientists (Grammy-nominated) Come On Out and Play Cool in School Dinosaurs Never Say Please From the Back of the Bus Wacka Wacka Woo and Other Stuff Weezie and the Moonpies (Grammy-nominated)

SONG RECORDINGS, cassette and CD. Big, Big World Down in the Backpack (new release) 50 Ways to Fool Your Mother Lunchroom Tales Play it Again There’s a Pea on my Plate You’re In Trouble

PICTURE BOOKS Bear’s All Night Party, ages 5 and up Nothing Happened, ages 5 and up Sarah’s Story, ages 5 and up Sitting Down to Eat, ages 3 and up

VIDEO Who Made This Mess? A storytelling and musical video featuring Bill’s band, The Troublemakers; rollicking songs; and hilarious stories.

Horner, Beth: Broad range of world myths and legends, Missouri folktales, original childhood escapades, and personal stories. See Beth’s Web site http://www.storytelling.org/Horner/default.htm for further descriptions of her recordings and how to order:

Encounter with a Romance Novel, cassette and CD for teens and adults.

An Evening at Cedar Creek, cassette and CD for children and adults.

Pipeline Blues, CD only for ages 12 to adult.

Micheale, Marvel: Multi-cultural repertoire traditional tales, original stories, and African American folktales.

Marvelous Stories 4 Little People, CD for young children.

Yen, Clara: Broad repertoire of traditional and original tales from around the world, specializing in Chinese folktales. For further descriptions and how to order see John McCutcheon’s Web site:

http://www.folkmusic.com/f_music.htm

Rainbow Tales, CD. Includes “The Clever Wife” by Clara Yen (IMCPL jCD 398.2 RAI)

Rainbow Tales, Too, CD. Includes “From Good to Bad” told by Clara Yen (IMCPL jCD 398.2 RAI), a story from Sweet and Sour Tales from China by Carol Kendall and Yao-wen Li.

More Recordings ⇒

53

OTHER ARTISTS from the Indianapolis-Marion County Public Library (IMCPL)

African American Stories:

Lester, Julius. The Tales of Uncle Remus: The Adventures of Brer Rabbit, four-CD set of recorded stories.

Norfolk, Bobby. Anansi Time, cassette.

Torrence, Jackie. Legends from the Black Tradition, cassette.

Childhood and Musical Stories:

Buck, Dennis. Car Songs, cassette only.

Hallum, Rosemary. Fingerplays and Footplays, cassette only

Hanger, Howard. Elementary Blues, CD of stories and songs.

Langstaff, John M. Songs for Singing Children, CD.

Palmer, Hap. Early Childhood Classics, CD.

Various artists: Family Folk Festival: A Multi-Cultural Sing-Along. CD.

Chinese and Chinese American:

Moore, Christina (narrator). Lon Po Po, cassette. Chinese Red Riding Hood Tale by Ed Young.

Bodkin, Odds. “The Panther Boys,” a Chinese tale from Dark Tales of the Supernatural, cassette.

See also the World Stories recording:

More Short and Shivery, by Robert San Souci.

Family and Personal Stories:

Canfield, Jack. Chicken Soup for the Pre-Teen Soul, CD

Davis, Donald. Big-Screen Drive-In Theater, cassette for gr. 6-12.

Davis, Donald. Braces, cassette.

Irish and Celtic Stories:

Kennedy, Sharon. Irish Folklore for Children, CD.

Kennedy, Sharon. More Irish Folklore for Children, CD.

San Souci, Robert. Young Arthur, cassette. Narrated by Virginia Leishman.

San Souci, Robert. Young Lancelot, cassette. Narrated by Virginia Leishman.

See also the World Stories recording:

Short and Shivery by Robert San Souci.

World Stories Recordings ⇒

54

World Stories:

Hamilton, Martha. How and Why Stories: World Tales Kids Can Tell, cassette.

Norfolk, Bobby. The Moral of the Story: Folktales for Character Development, cassette.

San Souci, Robert. Short and Shivery, four-cassette set of 30 scary stories from Ireland, Canada, Russia, Virginia, other parts of the world. Narrated by Mark Hammer.

San Souci, Robert. More Short and Shivery, four-cassette set of scary stories from the United States, China, England, Italy, Russia and around the world. Narrated by Mark Hammer.

Various storytellers. Rainbow Tales, CD.

Various storytellers. Rainbow Tales, Too, CD.

55