Storytelling AACI Certificates 2017
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Stories are the most powerful vehicle for instruction as they incorporate the categories and processes used by the child in understanding and interpreting the world: a beginning, a middle, and an end, binary oppositions, absolute meaning, emotional and moral categories. Kieran Egan
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Storytelling AACI Certificates 2017
- 1. Storytelling with Very Young Learners Analia Ferraro June 2017
- 3. storytelling it is the art of narrating a tale that reaches back to pre historic times oral cultures language is a mode of action and stories are an intrinsic part of their societies
- 4. storytelling with very young children
- 6. ages 3 to 5 • no experience of formal tuition • emotions have primary importance • the world of the imagination is vivid • learn through their experiences • they believe that the world thinks and feels as they do • self-centered yet significantly influenced by others • think very concretely and literally
- 7. do not read or write; so, how is language perceived? pre literate phase
- 8. “ … Fully literate persons can only with great difficulty imagine what a primary oral culture would be like, that is, a culture with no knowledge whatsoever of writing or even of the possibility of writing. Try to imagine a culture where no one has ever ‘looked up’ anything. In a primary oral culture, the expression ‘to look up something’ is an empty phrase: it would have no conceivable meaning. Without writing, words as such have no visual presence, even when the objects they represent are visual. Words are sounds. You might ‘call’ them back—’recall’ them. But there is nowhere to ‘look’ for them. They have no focus and no trace (a visual metaphor, showing dependency on writing), not even a trajectory. They are occurrences, events” Ong, Walter J. 1982: 31. Orality and Literacy: The Technologizing of the Word. London: Methuen.
- 9. little children acquire language best • in a low-anxiety environment • through focus on meaning rather than on form • if there is variety, recycling and repetition • learn with their whole bodies
- 10. • sparks their imagination • facilitates language and brain development • promotes positive attitude towards language learning storytelling with very young learners
- 11. Stories are the most powerful vehicle for instruction as they incorporate the categories and processes used by the child in understanding and interpreting the world: a beginning, a middle, and an end, binary oppositions, absolute meaning, emotional and moral categories. Kieran Egan, contemporary Irish educational philosopher Director of Imaginative Education Research Group
- 12. getting ready for story time
- 14. before storytelling • pick out essential words to the story to be pre taught (or taught while you tell the story) • analyse possible simplification of language (adaptation) • work on prediction (contextualization)
- 15. identify linguistic objectives • what do kids need to recognize for comprehension? • what would be useful to reproduce ?
- 16. choose & adapt a story • with good rhyme, rhythm and repetition • involving many senses and emotions • with a very clear structure (beginning – middle – end) • if possible, including an element of magic and strong emotional contrast
- 17. create the appropriate atmosphere make the storytelling session a special event
- 18. contextualize the story • relate the story to items of their own experience • identify the main character/s • elicit key vocabulary
- 19. the importance of input caretaker speech slower rate of speech more distinct pronunciation shorter, less complex sentences. rephrasing and repetition. meaning checks gesture and visual reinforcement concrete referents
- 38. while storytelling • check comprehension (stop and ask) • promote physical and emotional engagement • resort to repetition and mimicry
- 39. involve children encourage them to imitate you and repeat what you say or do
- 40. it is essential to provide support
- 41. try out funny faces, movements, noises and sounds to co-construct learning anchoring & memory recall
- 47. using puppets
- 49. using masks
- 50. using rhymes phonemic awareness “ I found a box”, said the fox. “I heard”, said the bird . “What is that?”, said the cat, “We don´t know”, said the crow. “Its is big”, said the pig. “Let me see”, said the bee. “Open it up”, said the pup. “How?”, said the cow. “I´ll use the force”, said the horse. “Use a bat”, said the rat. “I will try”, said th fly. “Good luck”, said the duck. “Beware!”, said the hare …
- 51. after storytelling go beyond imitation and practice
- 52. reconstruction & appropiation find a way to help kids make the story their own
- 53. using TPR multisensory processing of language
- 54. using songs & chants https://youtu.be/28gE7x-LfeU
- 55. comprehensible output scaffolding and pushed output
- 87. http://bit.ly/2qsujUE Goldilocks and the Three Bears The Story
- 88. • before storytelling contextualization & adaptation • while storytelling support & anchoring • after storytelling support & anchoring
- 89. using songs & chants http://bit.ly/2qx60mC http://bit.ly/2qStK81
- 91. http://bit.ly/2qBDmCU (…) storytelling is more than simply an art – it is a crucial skill for life. The craft (not the talent) of storytelling can be taught – and tested – in the same way as grammar.
Editor's Notes
- Storytelling is described as the art of narrating a tale and is regarded as an art form that reaches back to pre historic times when people did not read or write. People began speaking and told stories thousand of year before they learned to read and write. In fact, many fairy tales are rooted in oral tradition . Oral storytelling is an ancient and intimate tradition between the storyteller and their audience. The storyteller and the listeners are physically close, often seated together in a circular fashion.[1] Through the telling of the story people become psychically close, developing a connection to one another through the communal experience. The storyteller reveals, and thus shares, him/her self through his/her telling and the listeners reveal and share themselves through their reception of the story. The intimacy and connection is deepened by the flexibility of oral storytelling which allows the tale to be moulded according to the needs of the audience and/or the location or environment of the telling. Listeners also experience the urgency of a creative process taking place in their presence and they experience the empowerment of being a part of that creative process. Storytelling creates a personal bond with the teller and the audience.
- Children simply love stories and enjoy listening to them in their mother tongue and understan perfectly well the conventions of storytelling Everyone loves to listen to stories. There is hardly anyone among us who has not heard a story during our childhood. Little kids have suspension of disbelief that is, they have no problem in believing the unbelievable. Therefore STORIES can provide an ideal introduction to the foreign language as language is presented in a context that is familiar to them
- VERY YOUNG LEARNERS are different from YOUNG LEARNERS as they still are in a PRE LITERATE PHASE: they do not read or write! Characteristics of Preschool Children A significant reward that comes with teaching is the joy you’ll experience as you get to know each little one in your group—what he or she is thinking, feeling, imagining, believing. Not only will you have an opportunity to influence young minds and hearts, but you’ll also be influenced by your children’s simple, emerging faith. What follows here is a brief description of some of the characteristics you’ll see in the children you lead and learn from. It leaves much unsaid—and is certainly no substitute for getting to know your group firsthand. But we do hope it will give you some insight into what you may anticipate from preschoolers— intellectually, socially, and spiritually. Intellectual Characteristics think very concretely and literally, not abstractly or figuratively as youth and adults do; to a preschool child, things are as they appear to be. are not capable of reasoning or organizing abstract faith concepts along logical lines. learn through their experiences at home, church, preschool, caregivers. learn with their whole bodies; love to taste, touch, move, explore, smell, watch, and wonder. are just beginning to develop some literacy skills; some can write their own name, recognize the letters of the alphabet, and count to twenty. love to use language to please adults; “right answers” do not necessarily indicate comprehension. enjoy being told stories and read to; repetition an important way to learn. are often easily distracted from staying “on task.” Social Characteristics Children at this age are blissfully egocentric; see the world through their own eyes. are developmentally incapable of understanding another’s perspective or emotions. are self-centered, yet are significantly influenced by others, especially mom, dad, teachers, other significant adults. are on the verge of experiencing a wider world of people; many young children still want to play alone and must make a real effort to have any meaningful play with others.
- Kieran Egan Similarity between Pre Literate Children and Oral cultures For both of them language is perceived through sound … that is why SOUNDS are extremely attractive for very young learners No written representation of it is accessible https://en.wikipedia.org/wiki/Orality
- through focus on meaning rather than on form (as the brain stores information based on functionality and meaningfulness )
- Sharing stories with very young learners – who do not read or write - is a great way to spend time together. This shared social experience is a tremendously beneficial activity as it not only sparks the imagination of children but also helps promote language and brain development and a positive attitude towards language learning. Stories keeps children engaged and let them feel that they are also participating in the process of story telling. Language learning, any learning for that matter, happens when children are engaged in meaning making activities. If story telling is made into an interesting experience and fun filled activity where the listeners also participate in telling, guessing, manipulating, it could be a joyous learning experience. Telling a storyTeachingEnglish BC- BBC Stories provide shared contexts for rich, natural language development from a very young age. The “magic” lies in the way stories potentially engage children´s heart and minds. The magic of story time TeachingEnglish BC- BBC: 1 Stories may frequenty contain some language structures and vocabulary that are beyond children´s current level of productive competence. However, this does not need to be a problem as long as we actively support children´s understanding in the way we work with the story. The magic of story time TeachingEnglish BC- BBC: 2. Stories use a holistic approach to language teaching and stories support natural acquisition of language. We believe language is learnt in contexts and in chunks, not in isolation, word by word or sentence by sentence. Stories are meaningful inputs i.e. comprehensible inputs (Krashen 1985) that children receive as they listen to and tell stories. This helps them get engaged and motivate them to understand and find out the new words, structures and make meaning out of the input. Stories develop in children an understanding about other cultures, respect for others and other cultures. Stories help children develop critical thinking and making a judgement about things and happening and actions of people, ideas and so on. Above all children love stories.
- Kieran Egan - contemporary Irish educational philosopher Engaging students’ imaginations in learning, and teachers’ imaginations in teaching, is crucial to making knowledge vivid and meaningful, we call this new approach Imaginative Education (IE). We show that the imagination is one of the great workhorses of learning, and how it can be used for all ages and skill levels. The work of The Imaginative Education Research Group is dedicated to showing how learners’ imaginations can be routinely engaged in everyday classrooms http://ierg.ca/ The theory of Imaginative Education is based on five distinctive kinds of understanding that enable people to make sense of the world in different ways https://ierg.ca/about-us/a-brief-guide-to-imaginative-education/ The first kind of understanding, called Somatic understanding , refers to the physical, pre-linguistic way Somatic - from birth till about age 2 mastery of physical activities and a non-verbal appreciation of the world. Mythic - from about ages 3-7 mastery of oral language (involving binary opposites in thinking, metaphors, stereotype and a shared sense of right and wrong) Students can most successfully develop the five kinds of understanding (somatic, mythic, romatic, philosphic and ironic) by acquiring sets of “thinking tools.” In IE, these are called cognitive tools. These tools were invented and developed by our ancestors for making sense of the world and acting more effectively within it. Examples include: • stories that helped people to remember things by making knowledge more engaging • metaphors that enabled people to understand one thing by seeing it in terms of another • binary oppositions like good/bad that helped people to organize and categorize knowledge
- pick out essential words to the story to be pre taught (or taught while you tell the story) using pictures, objects, mimicry, context, or even translation as a shortcut. analyse possible simplification of language work on prediction Part of creating comprehensible input for language acquirers consists of using strategies for making the message understood, variously known as “motherese,” “caretaker speech,” “teacherese,” or “foreigner talk.” Some of the characteristics of this speech, as it occurs naturally, will be observed when a grandparent is talking with a young grandchild—or when a skilled teacher is introducing a new language. Here are some features of this kind of speech: 1. A somewhat slower rate of speech (still with the normal rate of speech for that speaker, but at the lower end of the range). 2. More distinct pronunciation (not a distorted pronunciation, however, which actually changes the sounds of the language). For example, most American speakers of English pronounce the “tt” in the word letter as if it were spelled “dd.” When asked to pronounce clearly, they often change their pronunciation of the sound to “tt,” thus distorting the language through an attempt to pronounce it “accurately.” Such distortions are not in the long-range best interests of the learner. 3. Shorter, less complex sentences. 4. More rephrasing and repetition. 5. More frequent meaning checks with the listener to make sure that he or she understands. 6. Use of gesture and visual reinforcement. 7. Greater use of concrete referents. 8. Scaffolding. The teacher surrounds the learner with language, allowing the student to be a participant in dialogue. In early language acquisition, the teacher actually provides both verbal parts of a conversation. Later, the teacher might embellish one- and two-word responses by the learner into complete utterances in a natural, conversational manner, at the same time modeling extended discourse and providing meaningful listening experiences. Students will become capable of taking over increasing responsibility as participants in the conversation. Language acquisition theory suggests that the language to which learners are exposed should be as natural as possible—that the past tense, for example, should not be postponed until students are able to analyze the past tense themselves. The key factor in the usefulness of input is whether or not it is comprehended
- with good rhyme (alliteration or repetition of a similar sound), rhythm (arrangement of words into a regular sequence) and repetition (of a sound, syllable, word, phrase, line, etc) involving many senses and emotions (emotions drive attention; attention drives learning and memory) with good rhyme (alliteration or repetition of a similar sound), rhythm (arrangement of words into a regular sequence) and repetition (of a sound, syllable, word, phrase, line, etc) involving many senses and emotions (emotions drive attention; attention drives learning and memory)
- find a way to help kids make the story their own
- Comprehensible Output Merrill Swain (1985) has taken Krashen’s idea one step further with her suggestion that students acquire language most meaningfully when they also have the opportunity for comprehensible “output,” or “pushed output.” That is, they need to have a setting in which their attempts at communication are valued and shaped to make them acceptable and understandable, through communicative rather than grammatical means of correction. When learners are pushed to express themselves in the new language, they begin to listen to the grammar of the language, and not just to the vocabulary. Output also allows learners to test hypotheses about the target language grammar (Ellis, 2008). Mounting evidence suggests that direct error correction has little or no influence on the accuracy of messages (Dulay, Burt, and Krashen, 1982). Correction that responds to the meaning of a message, however, has a much greater likelihood of making a difference for the speaker. Frequently correcting grammatical errors and interrupting to prod for accuracy tends to shift students’ attention away from the message being communicated and toward inhibiting their willingness to speak.