This is the first story I told for my 100 day storytelling challenge: to tell 100 stories in 100 days in hopefully 100 different ways. This story uses my thumbs for the two starring characters and it is a wonderful story to tell as a beginner storyteller. You can just watch your thumbs with an interested and focused face and ignore the audience!! Also if you are fascinated by your thumbs, your listeners will be too. We are all hardwired to experience limbic resonance through our mirror neurons and so the most important thing probably is that you enjoy yourself…. especially your mistakes. Children get so bored of experts! Have a go, invite the children to join you in the hand and arm gestures and you will be sweet. Next time, you can take Mrs Wiggle and Mrs Waggle somewhere that you and the children really want to go. (Storytelling tip: I always keep Mrs Waggle on my left hand, and Mrs Wiggle on the right. That way, they read alphabetically from left to right, and I don’t get muddled!)
Here is a lovely passage from https://reggiokids.blogspot.com/ Which is also where the wonderful image of the tower of cotton reels and glass jars comes from….
“Where do you begin?
Naturally you must begin at the beginning!
You have a new group of preschoolers or kindergarten children, your environment is ready, the room is full of loose materials, provocations….
The children arrive and chaos erupts.
Your materials are everywhere. Dumped, disposed, and disheveled best describe your classroom.
And you wonder how and why this happened.
Aren’t the children supposed to know how?
Extraordinary work, must be supported by solid foundations. Begin slowly, introduce your hundred languages, one at a time. Children like artists needs skills to create masterpieces. After 15 years of this work, we now find ourselves back to basics, as we have lost most of our proficient ECE teachers to school board full day kindergarten.It is somewhat discouraging to have to begin anew, teaching teachers to work in the “Reggio Inspired” way but we forge ahead committed to the process.
Rome was not build in one day!”
I resonate with these very questions. And will probably write again on the subject. I have worked in centres where the children produce extraordinary work and there are numerous causative factors and it fascinates me as to what the key teaching strategies are, and also the role the environment plays as ‘the third teacher’.
Because I have been working at a centre where I have had the privilege of being a sort of ‘artist-in-residence’, I accidentally slid into the role of ‘supplier of loose parts’ and ‘organiser of shelves in the art area’…. and spent quite a while looking for ideas that I could collate into a send home list, asking parents to help us to supply the children with the wherewithal to play with ‘loose parts’. Some of you have seen this on my facebook page and asked me to share the list, so here you go. If you share it, please invite the recipients to like my facebook page https://www.facebook.com/storytellingthreads
Here is my introductory letter for the list,Loose parts letter to parents for web page
And here is the list itself Loose parts 2 and there are items which are highlighted in yellow because some things can be played with in the block corner, the family area as well as in the ‘transient/ephemeral art’ corner. Meaning that they are not for simply hot gluing onto an empty cereal box!
Once upon a time, there was a boy who was turning five. He is a boy who loves stories about cheetahs. Everyone knew this about him… there were eight cheetahs in the cards he received from the other children (even though one was hiding behind a tree on one card!). Today was his birthday event at mat time. He hadn’t been to the centre for three weeks because he’d been in and out of hospital with a foot injury. Today he was distressed (unusual for him) that his mother left. Very. But he managed to get back from that terribly seductive edge. I had planned to tell a story for, with or by him… and was very relieved that he recovered his equanimity in time for us to quickly make decisions. Yes, a cheetah story… I could make it up. Could he tell me though, please, just three things that the cheetah was good at? Yes, running, jumping on other animals and climbing trees. And one thing that troubled Cheetah?…one thing he couldn’t do, and would like to be able to do? it turned out to be swimming. So I had all I needed.. a character and a challenge/obstacle/ problem.
In less than five minutes, I had fashioned a quick cheetah on one of the wooden bases I sometimes bring with me. And I remembered that the very first time, half a year ago, I had brought them, that very birthday boy had wanted to make a wolf. He/we made a wolf, and he produced a book at the centre, which clearly indicated the shape and colour of a wolf’s eyes. And he let the puppet stay at the centre, as a centre resource. It was still there!
Ceremonies over, I began the tale….on one of my storytelling mats, purchased by the centre. I did not know how it was going to go… I had the river, I had height – a tall wooden block…(for the visibility and mana of Cheetah!) and a tree. And so off I went…. “Once upon a time, there was a Cheetah who was turning five. It was his special day, and there were so many things he was good at. He loved to run (demonstration circuit on the mat), he could jump on other animals ( casts around for ‘prey’, finds Moana’s ‘flax’ skirt/ piu piu and mistake it for a spider! (black and white hairy legs variety!) and he could also climb trees.(Does so ).
But there was one thing that Cheetah could not do, and he wanted to do it, because he was hot! Very hot! And he didn’t know what to do. He couldn’t swim because he was a cat. And cats don’t swim.
(Casts around quickly to spot someone who could maybe help…. Spies Moana, lying skirtless but definitely a potential problem solver). “Tane! What can I do? i can’t swim, but I am so hot!!”
Tane answers, through the voice of a child…. (I have asked for ideas and help) “You should drink lots of cold water”.
Cheetah replied “That’s a good idea and I tried it, but it just made me feel like I was going to pop!”
Tane said, “Then you should ask my brother, Tawhirimatea. He might be able to help cool you down”. ( I had noticed the puppets from the Creation story as I walked into the story room).
(Leaps up and retrieves Tawhirimatea from a top shelf. Spots and retrieves the boy’s wolf while in that corner).
Cheetah, “Tawhirimatea, I am so hot, and I can’t swim, because I am a cat, and cats don’t swim”.
“I could blow on you to cool you down”, offered Tawhirimatea. “Yes, please” said Cheetah.
Tawhirimatea huffs and puffs but it doesn’t help. Tawhirimatea suggests talking to cheetah’s friend Wolf.
At this point I have no idea how the story will resolve itself, and I increasingly become aware (as I write this up) of various adages that I have learned and grown to appreciate (and clearly integrate) from Improv classes. “First jump out of your plane, and then find your parachute”….. we are now at the door step of the crux point… the third person to be asked is likely to have something worthwhile to offer, but I have no idea what it is. “Everything you need in a scene is right in front of you”. And even more powerful, “The only security is that there is no security”.
So jump in at the deep end, and bring Wolf onto the ‘stage’, and Cheetah’s (my) immediate response is “Goodness, you have even more fur than I do!! Aren’t you terribly hot? How on earth do you manage to keep so cool?” (Cos you are one cool looking wolf!….missed that joke opportunity!) (so many questions are buying me time!)
Yet another basic rule of every good story…. any story you can name… is “always reincorporate significant earlier events or characters”. Wolf replies,” Why, I swim of course!” (I am grateful to you, Wolf, for your eminent common sense!)
This still doesn’t quite solve Cheetah’s overheating problem! But Wolf is not dismayed. He is channelling He Who Made Him, as well as the energy of Cheetah, who is nothing if not fearless!
“I’ll teach you how to swim!” cries the jocular and confident wolf! And down they go to the water.
“First you go in up to your ankles” instructs wolf. Cheetah does so… “Oh that feels so good!”. And now you have to go in up to your belly button” continues Wolf….”Ooh, that’s quite cold. Oh, that feels very good. I like this.” (in retrospect, I love the way these instructions perfectly take into account what every small child knows about entering water)
“And now” urges Wolf,” you can go right up to your nose, but don’t get your ears wet”… (something could happen, but I forget what now) and so Cheetah did, and before he knew it, he was swimming.
And so I moved them down the blue river, with Cheetah in the front. And they had a race.
“And Cheetah won!” cried out the birthday boy from the sideline! Yes, of course!
And that was the story of Cheetah who could not (he thought) swim.
I loved the simplicity and format of this story so much that I quickly whipped off during lunch, and took photos of the key characters.
I returned to work in a kindergarten where I had not been since autumn. When I was there in April I had created, in a tall vase, a display of vibrant red autumnal leaves from an ornamental grape vine. When I returned in August, with spring in the air, I was disappointed to find the dried grape vine leaves just where I had left them. I was stewing crabbily and judgmentally on my disappointment when I noticed something green among the dusty leaves. I was stunned to see a burst of new life, a fat green bud with tiny grape-looking flowers in its centre.
It seemed such a salutary life lesson in some way for myself that I was moved to create a story about a crabby old woman and the change of seasons. So I did. I started by creating the verses which give a story a structure and a rhythm and repetition. They changed as the days passed but finally stabilised. This is the story…
And these are some of the principles that I took notice of when I was creating it. I wanted to include rhythmical memorable lines that I could repeat each day. This way the children would be able to look forward to the accurately repeated lines each day, and I would not have to learn the entire story word for word.
I incorporated animals and events that were real and alive for me. I chose a pattern of three for the times in which the old woman intended to cut down the tree, and included three animals all of which are familiar to the children, I referred to seasonal changes with which the children are familiar. I tried to use interesting verbs and adjectives to give the story life, and I also tried to include some words which the children don’t hear often.
What else did I do? I recorded myself telling it to see how long it took to tell. I told it out loud to myself in the bath in the morning in the days leading up to the telling. I attempted to keep the pace slow and old woman-ish and slightly dreamy. During the telling I used my hands and body to demonstrate the physicality of the cat and the dog and the ants… When the cat was purring in the old lady’s lap, I stroked the imaginary circular shape of the sleeping, purring cat. When the dog leapt over the fence, I used my arm to indicate how he leapt. When the ants bit the old lady’s leg, I pretended my hand was scurrying around the back of my shin before the old woman slapped her own leg, etc, etc.
I thought about the temperaments... the phlegmatic sleepy, snug cat, the choleric Digalot the dog digging and chasing and refusing to come when called. I appealed to the empathy of the listeners when Suzy, the old dog, died in her sleep, and again, as they heard each animal respond to the threat of the axe chopping down the tree, and the urgency with which they knew they needed to act to save the grapevine. And the sanguines love all the adjectives and descriptive words which are in the verses and in the descriptions of the behaviour of the animals…the cholerics also got a moment of adrenaline when the captain or grandfather of the ants called on the swiftest, most agile and most courageous of the ants to go into action and fight for the life of the grapevine.
I included references to the senses... the taste of grape jelly, and the sweet raisins,… the smell of …no I did not include smell… the feel of Greysmoke’s warm fur, the cold winter chill of a winter’s day, the warm relaxation induced by the sun’s rays, the sound of purring like a miniature well-oiled tractor, the sound of the old woman trying to whistle, the scuffing sound of Digalot digging For the sense of sight,… the juicy purple grapes, the green bud unfurling, the daffodil bulb that looked like an onion,… so I did include the senses but not deliberately. If I had thought of them, I might have consciously included a few more… like the texture and taste and smell of well chewed old slippers!… or the texture, smell and feel of the sun-warmed corrugated iron, and so on….
I like the fact that I spoke openly about the fact that pets die and that it is very sad. It felt good to name it, and also soften it with the acquisition of the puppy. One other detail I liked was to include a compassionate view of the new young puppy who never sat when asked to sit, never came when whistled for, etc etc. We have a new child in the class who is intensely like Digalot in this regard, and it felt good to say that the puppy was young and that he was learning and that he did not mean to be naughty. It was simply that he was indeed a young puppy. And to hold the child in my consciousness and even, occasionally, in my gaze, while I described Digalot’s behaviour.
Whatever I did, it certainly held the attention of the children for four days in a row, and one child even asked ‘Is this story about you?” ( The cat was once mine, the dog that died belonged to a friend of mine…. and my mother was forgetful but never that bad!) I made a felted house for the children to play with and which I used to introduce the story and occasionally I referred to it, tracing the journey Greysmoke took to get to the roof, and the place where Digalot hid the old woman’s slippers so that he could chew them in peace! and so on and so forth. The hanging was left out for the children to play with and populated with other puppets who were available..I did not have a dog but the kangaroo looked very doggy like or foxy ( as one child commented) if you ignored the joey in her pouch! so we made do!!
It felt like a very healing thing to do to tell a story that somehow made bigger sense of my smaller, rather petty response to the continued presence of the grapevine. And it was a pleasure each day to reach the point in the story when the old woman sees the wonder of returning spring. Each day it felt alive and powerful and special. On the very first day, no one else in the room had spotted this little miracle so they were all delighted to run over and see it for themselves when the story ended and also to experience the wonderful miracle of the seasons…. and fancy the old woman forgetting all about the cycle of the seasons, and isn’t it wonderful that indeed the seasonal wheel is turning back towards the warmth of summer and fresh growth.
And then I made another house in a toadstool, with more windows and space! i have embroidered it a little, and added a door knocker and ‘apples’. I like this one a lot too! And will happily make something similar for you, and you could give me the specifications that you would like!
Creative collaborative storytelling.
What a strange circuitous route creativity takes! On the Kapiti Coast I heard a story called The Sultan and the Magic Rooster from a woman who works with people with special learning needs from the UK and then I learnt it, and added opportunities for more and more participation by the children. Making bee sounds, sucking up water sounds, putting out fire sounds… and the indignant chorus line, “Oi! Give me back my diamond”.
My plan was to draw or paint all the other pictures but of course there was no time. However, I worked out how many pages there needed to be, and at appropriate intervals I had a full page with the words of
Because there were no images and no words, the children were inspired to help me tell it, and I dutifully turned the blank pages as the plot unfurled. Then I would come across the chorus, and they would all bellow it out joyously! And so the story was retold, and the blank book serendipitously became another part of my storytelling repertoire.
So many things constellate to create new ideas and the process of creativity becomes increasingly fascinating, as one thing triggers another and cross fertilisation happens. This is my idea of what will happen when storytelling becomes part of a centre’s culture. So then, that rooster can be in five different stories and bring his storylines, strategies and experiences into a variety of contexts, weaving a rich tapestry of complex neural pathways.
A further development was that I made another book with an image of a cat in a garden on the front but no words inside. A child said,” It can’t be a story. There are no words”, and so I took it to mat time, and asked three children to come up with me, and tell me the story of the cat in the garden.
They did a wonderful job, and then another three children told a second story, using the same provocation of the cat sitting amidst the flowers. What is remarkable is that each story had both a happy and a sad ending. Before work the next day, I quickly drew the two stories and the four endings into the book and ‘read’ their story to/ with them, which had now become a book, but still without words. Which they listened to with great attentiveness.
This evolved at another centre soon afterwards, when I read them the children’s two cat stories and invited them to create a story too. I then produced a few random ‘cover’ title pages to choose between, and they chose the car image. So I invited another three children to tell us what happened in the story. The plot unravelled about a cat and a bunny who went for a picnic, were chased by a giant bear and tried three different strategies for escaping from him before remembering they had a car they could escape in!
Then I was on outside duty and started to do some drawings for their story, and of course, they all leapt in. I could have drawn a story board of required images which would have been good for them to work out what was needed but would also have suggested a ‘right way’ of drawing an image.
There was no time, there was a howling gale and everything, paint, paper,pencils, felts, brushes, small lids of paint with bunched up tissues with which to smear a sky or some grass in, so that it could be rubbed ‘dry’ and be safely stacked … all had to be held down with hammers and lumps of wood, but nonetheless, half a dozen children or more, contributed images, announcing what they planned to draw. I occasionally said “We still need a picture of when…….” One image was of a horse which I asked politely if I could turn it into a bear cos I was one short. And a younger child’s image conveniently became an image of panic and fear, whilst her other circular spiral image made a very good hole to trap the bear in.
Then I sewed the whole book together, made myself a copy, and read it to them at mat time. I think such a story is such an empowering experience, introducing a playfulness, flexibility, creativity and collaborative creativity, along with a strong sense of agency. They were so engaged, and I was happy as Larry with a project to work on, rather than drifting vaguely. I am very taken with the concept of a ‘planted adult’, meaning that I stay still and they swirl around me, but I am predictably and inspirationally engaged in their midst. I like to think.
The two stories above were more about the bones of a story and less about the flesh. We filled those in when we drew it, in a way. When a child has drawn some images and I am writing the words that tell the story alongside the image, I like to think I ask questions a bit like those lovely guys in the Flight of the Conchords. https://www.youtube.com/watch?v=Ca4ty7tz9x0 Listen to how they interact with the children. They are genuinely interested in learning from the children. They ask questions to which they do not know the answers. They accept whatever they children offer and do not block their ideas. The result? simply magical. i like to think that when i ask children to tell me their story when they create a book or some such that i also play the pa rt of ‘naive enquirer’ as well as these dudes!
I took a dictation about a party. it was for the King. I asked if the queen would have been there too., Her answer was that the Queen was allowed to come. So I wrote that. (Meaning that instead of . adding ‘for the king and the queen’…i wrote,’ The Queen was allowed to come’. It conveys a complexity of relationship that good stories always have) She told me that she wore a purple dress. i wrote that. When i asked if there was any more she could tell me about her appearance, she explained that she had gentle shoes on. Gentle shoes, I said, what are they?”They are not high heels, because these people are fairies and not ginormous”. The result was splendid, just like the stunning song about feeling inside and ‘stuff like that’. So the final part of this trilogy was last week when I redid the story of the Rooster with a magic tummy http://caloundrastorytime.blogspot.co.nz/2006/10/turkish-sultan.html at another kindergarten.
Day one, I told it with their help. Day two, they helped me to tell it, and I used the book and they bellowed the chorus, and learnt the meaning and gesture for ‘indignation’, captured by the word ‘Oi!” in my opinion. Even by this point, one parent had commented that this was the longest story that her daughter had ever regaled her with at home. Other parents commented similarly over the following days. There is something, I believe, about the fact that I did not need a book that made the children appreciate that neither did they.
Day three, I had made small table top puppets out of wedges of wood during Day two, and they were quite simple figures. No glue gun, so I had to wall staple the hair on. That night, I embellished them quite a lot and was very pleased with them. I adjusted that courtiers who gave advice so that there were three of them.
And then at mat time, I set it out with different heights and fabrics and walked the story through. Oh, and I had also adapted a tissue box, a shoe box, and a cardboard cylinder into a bee hive, an oven and a well. They children helped me to decorate and create them.
Day four, we did it as a dramatised live version. I sewed up loops of different coloured wide ribbon while stuck in traffic jams on the way to work, so they could be worn like netball player sashes. Purple for the sultan, gold for the rooster, green for the old lady, and yellow , blue and red for the three courtiers who think up the three ways to get rid of the rooster. There were also three sarongs to create the ‘traps’. Blue for the well, red for the fire and yellow for the beehive. A few blocks for height for castles and window sills. In the moment, it suddenly became obvious that the rooster could actually stuff the blue water up his jersey until he spat it out in the oven to put out the red fire cloth. AND we found a way to put the rooster down the sultan’s baggy pants. A bowl of ‘treasure’ of plastic diamond looking shapes were also always incorporated into each telling of the story.
The children finally knew the story so well, having seen it, heard it, read it, small-worlded it, and now played it, and also retold it at home. It was so marvellous to see how far the story had travelled over the four days. And what a great sense of ownership and interest had developed in the children. And how many children felt empowered to extend their oral literacy at home, and tell their parents stories as well. I am not sure about the moral but certainly there was a message that greed does not end well.
P.S as you can see there is a video. If I knew how to upload it, I would. In the meantime, I have permission to share it at my workshops so I look forward to being invited to provide a workshop for up and coming storytellers.