Showing posts with label storytelling in education. Show all posts
Showing posts with label storytelling in education. Show all posts

Saturday, May 11, 2013

Storytelling to teach character and prevent bullying




It was my great privilege to be able to present a workshop at last years National Storytelling Conference in Sydney. The idea for my workshop sprang from my experiences using Elisa Davey Pearmain’s fabulous and comprehensive book Once Upon a Time: Storytelling to teach character and prevent bullying: Lessons from 99 Multicultural Folk Tales for Grades K-8.

Pearmaine has created an extremely practical, easy to use, rich resource. It includes ideas on how to tell the stories, how to teach storytelling, how to use the pre-story and follow-up activities in the classroom, how to create a character education program in your school and how to set the scene and create an atmosphere conducive to storytelling and listening.

She has grouped 99 multi-cultural folktales stories according to 12 categories of good character: co-operation, courage, diversity appreciation, empathy, friendship, generosity, honesty and fairness, leadership and citizenship, perseverance, respect, responsibility, self-control and bullying prevention. Beside each tale is a little note stating the stories country of origin, main themes and which year-group it works best for.

The follow-up activity ideas are very do-able, fun and age-appropriate. They range from discussing particular questions, to dramatization to artwork to writing provocations to creative visualisation.

The reason I began working with the stories in the book was that in 2011, my daughter had become the target of quite severe bullying from a girl who had been fostered by a local family. She had undergone severe traumas within her birth family, as well as subsequent upheavals when she had been removed form a happy placement and separated from her younger siblings. All this was translating into some quite heavy behaviour, towards my daughter Layla, who was then 7 years old. The foster family knew what was happening, were doing their best and it wasn’t appropriate to approach them. So I decided to use stories to try to alleviate the situation. I hadn’t worked therapeutically with story much before, but felt it couldn’t hurt and might help.

Each week I’d ask Layla’s teacher what was the main issue at play which I could address through story. It was usually about the need for generosity, empathy, honesty and kindness.

The first thing that struck me about the class was that they were exceptionally distractible. I had told stories in in many classes at our school as a mum. While this was quite different to being a professional visitor, the students were still well-behaved. But this class had at least six high energy boys and girls and the atmosphere- even in mid-morning was often close to a whirlwind. I was a bit taken aback and my usual settling tricks weren’t working, so I had to get used to a slightly different process, but the students did come to settle a little better once we were in the routine of stories. The wildness of the class meant we rarely able to do many activities after the story. After a guided discussion, sometimes the students drew the story and sometimes they rewrote it. Once we retold it in a circle and once we had a go at enacting the story in groups. The children were enthusiastically engaged in the process.

I told Feathers, Sweet and Sour Berries, The Magical Axe, The Legend of the Big Dipper as well as some I have told for a long time which were also in the book: Rat and The Tailor (which I tell as The Blue Coat).

One of my favourite stories is ‘The Legend of The Big Dipper’. It is a story of generosity. The girl in the story uses a tin dipper to gather water at great effort and generously gives it to others. The water dipper changes to silver, then gold, then diamond. Then along come a wise woman who throws it into the sky where it becomes the star constellation and where the water drops fall, a spring bubbles up.  I told it at the workshop and people re-enacted in groups exquisitely.


So what effect did the stories appear to have? We were hoping that the whole class would benefit as  kindness was an issue for most of the children. Without being in continued contact with the little girl in question, I am not sure. She certainly loved stories. The stories were not a magic spell or instant fix which I didn’t realistically expect, though the irrational side of me did want a quick change for my daughter’s sake!

What struck me was how children can be extremely resistant to recognising their own behaviour in a story, if it is negative. I didn’t push it. However, in discussion, they were very keen to tell examples of when they had been kind or generous. On reflection I confess I can be the same. When I first told ‘The Luckless One’ to my partner, he said it reminded him of me. I was extremely indignant, but could eventually recognise that at times I fail to recognise the blessings in my life.

I often discussed with Layla’s teacher whether the stories were having any effect. She said there were two spin-offs. One was that she began to tell stories again, because she wanted to reinforce the ideas in the stories between my visits. Secondly, she said the stories gave her and the wonderful teacher’s aide in the class, a neutral reference point and a shared language with the students. Rather than just suggesting the children act kindly, she could say ‘Remember the boy in the story of Sweet and Sour Berries. Let’s see if we can all be kind and generous like him.’ So it created a sense of community in the classroom because they had shared stories. The stories helped remind me to consider my own actions more carefully too.

Of course there are many other great books on healing tales, which I list on my resources page at my website www.storytree.com.au and there are great treasures at the Healing Story Alliance (H.S.A.) website too.  In a world where inspiring spiritual messages and wise role-models are sometimes few and far between for all of us, and where we are often barraged with advertising and reality TV shows which encourage selfishness, competition and nastiness, collections of tales like this are real treasure indeed! I hope to continue my adventure with these tales.

Pearmain, Elisa. (2006) Once Upon a Time: storytelling to teach character and prevent bullying: Lessons from Multicultural Folk Tales for Grades K-8, Character Development Group, Greensbooro, NC, USA.www.CharacterEducation.com Library of Congress Number: 2007934445 

Monday, February 18, 2013

Frightful Witches and Kissable Toads: the power of folktales




One day Baba Yaga’s two trusted toads said,
”You are truly terrifying!”
            “Good!” said Baba Yaga, “because that’s what I’m here for.”

from The Wise Doll by Hiawyn Oram.

Dear Reader, A few years ago I wrote this article for 'Kindred Magazine'… Some of my ideas have stayed the same and a few have changed since then, which I will write about in the coming months. I hope you find it thought provoking. Feel free to respond in the comments section. Jenni

As a professional storyteller, I have to confess my prejudices. I am totally and passionately in love with the genre of folktales. Yes, there are folktales that are boring or overly violent or model terrible values. These are the toad stories and yes, sometimes one has to kiss a few toads before finding the princes and princesses of story. Also, if your main exposure to the classic fairytales has been Walt Disney films or books, you may be unaware of the earlier, earthier and more satisfying versions. As my friend and master storyteller Brian Hungerford often wryly asides, ’There is a special place in hell for Walt Disney.’ (1) Many adults seem also to have lost the ability to decode the metaphors in folktales, which leads them to confuse princes and princesses with toads. This means many parents miss the potential in folktales to heal, soothe and model ways of being for their children and themselves, in an entertaining and gripping way. Thus I want to write in defense and in praise of my good friends and lovers.

Folktales are often rejected for their violence, their ‘sappy idealism’ and happy-ever-after endings and for being all about kings and queens. For me, those things didn’t worry me, but the gender stereotypes did. So I avoided telling the classic Grimm’s tales and chose to tell more unusual folktales with active heroines. But two experiences reversed that rejection. The first was my son’s obvious delight in Little Red Cap (Red Riding Hood), Rapunzel, Goldilocks, Rumplestiltskin and Jack and the Bean Stalk. (2) He was then two years old. The second was reading a book called The Uses of Enchantment by Bruno Bettelheim (2a). Firstly, why are there so many kings and queens in folktales? Perhaps you associate the monarchy with dictatorial power, inbreeding and financial inequity. Yet symbolically, the king and queen represent our whole, mature and evolved selves. Kings and queens in an archetypal sense, have high self-esteem and the wisdom to make important decisions. They manifest loyal supporters, can withstand opposition and live in a state of abundance.

Brono Bettelheim wrote,
Every child at some time wishes that he were a prince or princess - and at times, in his unconscious, the child believes he is one, only temporarily degraded by circumstances. There are so many kings and queens in fairytales because their rank signifies absolute power, such as the parent seems to hold over the child. So the fairytale royalty represent projections of the child’s imagination.

Violence in Folktales
Now, let’s address violence in folktales. There are two things I’d like to consider here. The first is age appropriateness. The second is sorting out positive stories from destructive stories.