Storytelling for Young Children in a Multicultural World

Early Childhood Education Journal, Vol. 28, No. 2, 2000

Storytelling for Young Children in a Multicultural World Mary F. Lenox1,2

Early childhood educators are challenged to introduce children to the world of their future, a world that is and will increasingly become multicultural and multiracial. Storytelling is a powerful tool to promote an understanding of self and others. Readers are informed of the selection criteria for identifying stories to tell to young children from the colorful tapestry of Asian American, African American, Hispanic, and Native American heritages. Key questions to ask and answer in selecting culturally sensitive stories are also discussed, including the elements of character development, prejudice reduction, authority and authorship, and language. A storyteller’s sampler of selected stories for preschool and primary-age students is included in the annotated bibliography. Reference sources for educators on storytelling techniques and strengthening understanding of multicultural perspectives are also described. KEY WORDS: storytelling; ethnic and racial diversity; multicultural stories; multiracial.

INTRODUCTION

to break down cultural barriers while building bridges to understanding.

Early childhood educators are challenged to introduce children to the world of their future, a world that is and will increasingly become multicultural and multiracial. Storytelling can be a powerful resource to promote an understanding of racial and ethnic diversity. For decades researchers have shown that preschool and primary grade children are often well aware of, and may assume, the racial attitudes of parents and others around them. Children glean ideas, images, attitudes, and perceptions from television, picture books, stories, and the words and behaviors of peers, caregivers and others in their environment. Thus, the early developmental stages of young children are an ideal time to engage their minds and hearts and to build attitudes of appreciation and respect for those unlike themselves. Storytelling can also be a fun-filled way to inspire an interest in learning while expanding awareness and knowledge of today’s diverse environment. It can help

The Gift of Storytelling Baker and Greene (1977) suggest that, “telling a story is giving a gift . . . storytelling brings to the listeners heightened awareness—a sense of wonder, of mystery, of reverence for life” (p. 17). Indeed, storytelling is a gift of understanding of self and others, and understanding the story itself. By extending its purpose to that of promoting diversity, it becomes a means to understanding the diversity of life. Diversity is the norm in all of nature from the distinct stripes of each zebra to the unique DNA of each person. Moreover, within each human being are such various, interrelated elements as body, mind, spirit, and emotions. Wong (1991) suggests that diversity is “the highest common denominator, where difference is an enriching resource that leads to a fuller understanding of what is universally true” (p. 53). In this context, the story hour becomes the platform for preparing children for life and to live in harmony with others in this dynamic world. It would be ideal for children to receive the gift of storytelling at an early age.

1

College of Education, University of Missouri–Columbia. Correspondence should be directed to Mary F. Lenox, 118 Hill Hall, University of Missouri-Columbia, Columbia, Missouri 65211; e-mail: [email protected]

2

97 1082-3301/00/1200-0097$18.00/0  2000 Human Sciences Press, Inc.

98 The challenge is to identify appropriate stories to meet the dual objectives of sharing a wonderful story and introducing concepts of diversity. Selecting Multicultural Resources for Storytelling with Young Children Selecting the appropriate stories to tell to children is the first and most important dimension of storytelling. The wide array of stories might include fiction, folktales, myths, legends, and other narratives. The story must appeal to the teller, inspiring interest in the commitment to do what is necessary to bring the story to life. How does one begin this complex process? There are several steps, as identified in the following guidelines. Select Stories that Recognize and Acknowledge Unique Traditions, Customs, and Beliefs of Various Ethnic and Racial Groups In this article, the contextual framework for selecting stories is the intentional process of identifying those that illustrate the landscape of ethnic and racial diversity. This imperative requires a familiarity with the customs, values, and traditions of the people from which the stories come. It is also recognizing the fact that, historically, stories have been a major way to maintain cultural cohesiveness and ethnic identity through the everexpanding homogenization of culture. Although there are numerous ethnic and racial groups within the overarching mosaic of cultures within the United States, each has its unique points of view and ways of being in the world. Thus, it is important to understand, for example, that Native Americans place great value in recognizing the more than 200 ethnic groups within the sphere of Native American nations. Their stories are a real window to their uniqueness. In this regard, the outstanding author and Native American storyteller Joseph Bruchac points to the notion that it is important to “seek out books that depict characters from a well-defined individual native nation—as opposed to generic Indians” (Ford, 1998, p. 47). Moreover, while the Hispanic cultural identity is preserved through the commonality of the Spanish language and family traditions devoted to maintaining family cohesiveness, there is a rich diversity of perspectives within the Hispanic culture ranging from immigrant stories from Cuba and Mexico to those from South America and Spain. Thus, the child who has emigrated from Mexico will have a very different world view than a child from Guatemala, or a second generation Mexican American, even though each may share the common language.

Lenox In Hispanic culture, family ties are important connectors to their cultural values. Diamond and Moore (1995) pointed out that in the Hispanic tradition, “the family becomes the ‘keeper’ of the culture” (p. 26). By examining values and attitudes toward the family, one gains deeper insight into the rich Hispanic culture and heritage. Extended families are also powerful influences on attitudes and behaviors with variations in roles and expectations. These distinctions are important to recognize in identifying and telling stories to children. Similarly, Asian Americans have evolved from many lands. For example, their cultural roots from Vietnam, China, and Japan reflect a wide array of diverse cultural elements indigenous to each. African Americans are from the continent of Africa, whose complex heritages have existed through thousands of years since the earliest links to humankind. For the most part, ancestors of African Americans were taken out of the region of West Africa. This region includes Nigeria, the Ivory Coast, Liberia, Sierra Leone, and the Gold Coast. They descend from such ethnic groups as the Yoruba, Ibo, Fulani, and Hausa from the nation now known as Nigeria. They are also from the region known as Ghana, which is dominated by such ethnic groups as the Ashanti, Fanti, Ga, Ewe, as well as the kinship group, Mende, found in the nation of Liberia. The outstanding author and storyteller Verna Aardema gives insights into the Ashanti cultural traditions in her story, Anansi Does the Impossible: An Ashanti Tale (1997). African influence is also evident in stories from the Caribbean, Brazil, and other Latin American countries. The wealth of cultural and ethnic symbolism embedded within stories from the African American experience is also reflected through the richness of southern, urban, and rural experiences in the United States before, during, and after the slavery era. Recognize the Qualities of a Good Story A good story for the telling has a natural rhythmic flow of beginning, middle, and end. Its essence is evident in a well-developed plot, believable characters, creative word images, and the use of humor or drama in its appeal to the imagination and emotions of the child. Language is the conduit for both the story’s context and content, delineating the plot, conflicts, feelings, and characters within a cohesive framework designed to capture attention and interest. Character development is sustained through the synergy between symbolism, imagination, and dialogue. For the storyteller, a good story becomes a part of the interior spaces of the teller where emotions, style, and characterizations blend with voice,

Storytelling for Young Children expression, and the story’s content to create an exciting journey for the listener (For a classic description of the meaning of stories, see the bibliography.) Locate Sources of Stories A wide range of resources now exists relative to storytelling, from print and electronic media to stories on tape as told by outstanding storytellers. Where does one begin to find stories for storytelling? An educator can: • Search for sources of materials in libraries and museum bookstores. Libraries are often acknowledged as treasures of books and stories, but often overlooked are the libraries and bookstores of our nation’s museums. For example, the museum bookstore at Fort Laramie, Wyoming, the historic site where thousands of immigrants stopped for supplies along the Oregon trail, has an excellent collection of stories of Native American experiences in print and on audiotape as told in their own voices. [A mailorder catalog listing all of the resources available at the bookstore may be obtained by contacting the Fort Laramie Historical Association, P.O. Box 218, Fort Laramie, WY, 82212, 1-800-321-5456 or (307)-8378-2662.] • Explore websites on the Internet focusing on storytelling resources such as: Bulletin of the Center for Children’s Books: http:// edfu.lis.uiuc.edu/puboff/bccb/o497doz.html Instructor Magazine’s, “How to Choose the Best Multicultural Books”: http://www.instructor.com/curriculum/langarts/reading/multicultural.htm “Storytelling in the Elementary Classroom”: http:// www.indiana.edu/⬃eric_rec/ieo/bibs/story.html Children’s Literature Webguide: http://www.acs. ucalgary.ca/⬃dkbrown/index.html North American Native Author Catalog: http:// nativeauthors.com Korean Folktales: http://www.lg.co.kr/public_html/ index.htm Center for the Study of Books in Spanish for Children and Adolescents: http://www.csusm.edu/campus_ centers/csb/ • Attend storytelling festivals as sponsored by national, state, and local organizations The National Storytelling Association (formerly known as the National Association for the Preservation of Storytelling) is a source of information for technique, sources of stories, and a place to identify professional storytellers. It also sponsors an annual storytelling festival in Jonesborough, Tennessee, where storytellers from all over the world meet to hear and tell stories to each

99 other. Here one can be exposed to regional stories from different ethnic and cultural groups as well as the rich range of stories for children and adults alike (for further information try the websites, National Storytelling Association at http://www.storynet.org and Mo-Tell: A Missouri Storytelling Association at http://www.motell.org). • Invite storytellers to the classroom In addition to the teacher telling stories, there is an opportunity to expose children to outstanding storytellers through their personal appearances as well as through the use of audiotapes. For example, Jackie Torrence, author of Jackie Tales, provides a rich resource of stories from her own African American experiences on audiotapes. She is also available for professional appearances to schools and libraries. These events may be cosponsored in partnership with your local school or public librarian who can also help in identifying storytellers from various ethnic and racial groups available to share their storytelling expertise. The support and sponsorship of visiting storytellers will expand the opportunity to observe excellent storytelling technique while learning new stories with broad appeal. Parents, grandparents, and other community participants are also valuable sources of stories from various cultural perspectives, for they speak from their own experiences. Key Questions One Should Ask in Selecting Stories from Diverse Cultures to Tell to Young Children In identifying and selecting stories from diverse cultures, it is important to consider the following elements: character development; cultural sensitivity to place; attitudes, perceptions, and prejudice reduction; authority and authorship; and language. Character Development “Characters exhibit a unique perspective on the world, based on everyday experiences and specific details of language style, family interaction, religious practice and other qualities that reflect the cultural behaviors of a group” (Diamond & Moore, 1995, p. 44). Does the story use authentic names for the characters? Are the characters developed within the social and cultural framework so as to acknowledge similarities and differences? Do the characters have distinguishing traits or qualities? Are the characters believable? Cultural Sensitivity to Place Geographical location influences cultural development. For example, stories from the Appalachian region

100 of the United States reflect the cultural nuances of that region. Where does the story take place? Is there a recognizable, unique cultural and/or ethnic dimension of place in the story? In the context of place as an element of cultural diversity, what makes the story different from and/or similar to other multicultural stories from other geographical locations? Is the setting described in an authentic way? Attitudes, Perceptions, Prejudice Reduction Since attitudes, perceptions, and prejudice are influenced by the environment, these can be changed in the learning process. Does the story avoid stereotypes while at the same time acknowledging the cultural and racial differences? Is there an attitude of equity and inclusiveness in the story, as appropriate? Is there evidence of stereotypes? Who holds the power in the story? What cultural and ethnic assumptions are made about the story or its characters? In selecting, reading, and telling the story, what images come to mind? Is being different considered to be a positive or negative attribute? Authority and Authorship Authority is born of knowledge, expertise, and personal experiences. Writers from different ethnic backgrounds can share the richness of their heritage while sharing their knowledge through stories. Has the author written from his own cultural experiences or is the author an authority on the story he or she has written? How does the author handle concepts of differences? How does the author handle the concept of the common bond of all humanity? Language The beauty and flow of language are the mechanisms for telling the story, and therefore, it must be well written to capture the imagination, heart, and spirit of the young listener. It should also lend itself to oral transmission. Does the choice of words assist in conveying the unique cultural elements? Does the story have a ring of authenticity? In what language is the story told? Does the story use words and phases from various ethnic and racial groups, as appropriate?

Lenox SUMMARY Helping children to accept differences by exposing them to stories from various cultural perspectives through storytelling can also be a way to create a community of learners who accept and appreciate each other as well as those from very different environments. Early exposure to ideas from other cultures enables children to broaden their horizons rather than live and think in isolation. Through the careful selection of stories, the teacher can expose children to various points of view, different traditions, and a range of ideas, customs, and beliefs different from their own. These types of stories can be a powerful means to set children on the road to a future of openness to the world in which they live and an acceptance of difference as a familiar and expected way of being in the world. BIBLIOGRAPHY: A STORYTELLER’S SAMPLER Of all our reasons for telling and hearing stories . . . here are ten: Stories entertain us; create community; help us to see through the eyes of other people; show us the consequences of our actions; educate our desires; help us to dwell in place; help us to dwell in time; help us to deal with suffering, loss, and death; teach us how to be human; and acknowledge the wonder and mystery of Creation. Scott Russell Sanders (1997, p. 115)

There are a number of resources available to support storytelling for young children in a multicultural world. While these in no way encompass the universe of all that is available, the list can be used as a beginning point for selecting appropriate stories for the telling and to strengthen storytelling technique. It is divided into three parts. Part 1 lists stories from the African American, Asian American, Hispanic, and Native American experiences; Part 2 identifies examples of classic tales retold from the point of view of various ethnic groups; and Part 3 provides recommended reference sources including information on storytelling technique, stories with multicultural/cross-cultural perspectives, and research in multicultural education. Part 1: Stories from Selected Ethnic and Racial Groups African American Aardema, V. (reteller). (1975). Why mosquitoes buzz in peoples’ ears: A West African tale. Pictures by L. and D. Dillon. New York: Dial.

Storytelling for Young Children A delightful tale, with beautiful illustrations, as retold by an outstanding storyteller and author. Belton, S. (1998). From Miss Ida‘s porch. Illustrated by F. Cooper. New York: Aladdin Paperbacks. When the grownups congregate on the eponymous porch and reminisce about seeing Duke Ellington and Marion Anderson, the narrator and her girlfriend soak up the lore of greatness and gain insight into the history of racial segregation. Courlander, H., & Herzog, G. (1946). The cow-tail switch and other West African stories. Drawings by M. L. Chastain. New York: H. Holt. A renowned folklorist, Courlander collected many of these stories, proverbs, and parables full of humor and wit that originated from Liberia, Nigeria and other ancestral homelands. Day, N. R. (1995). The lion’s whiskers. New York: Scholastic. Reflecting the universal truths of love and courage, this Ethiopian folktale tells the story of the unusual steps a mother will take to win the love and trust of her new stepchild. Hamilton, V. (1995). Her stories: African-American folktales, fairy tales, and true tales. New York: Blue Sky Press. Magic, animals, and the supernatural are among the themes with a female focus in this collection of 19 stories by a well-known African American author. Lester, J. (1987). The tales of Uncle Remus: The adventures of Brer Rabbit. Illustrated by J. Pinkney. New York: Dial. Forty-eight authentic folktales highlight the adventures of Brer Rabbit in a collection of witty, philosophical stories from the days of slavery and beyond, including the classic, “Brer Rabbit and the Tar Baby.” McKissack, P. (1986). Flossie and the fox. Illustrated by R. Isadora. New York: Dial. A cunning fox is no match for the courageous African American girl he encounters in the woods in this delightful story set in the rural south. Tate, E. E. (1994). Front porch stories at the one-room school. Illustrated by E. Velasquez. New York: Dell. Ten tales told by 12-year-old Margie Carson’s father to a schoolroom full of enraptured neighbors are drawn from the author’s memories of her life in smalltown Missouri. Tate, E. E. (1997). Don’t split the pole: Tales of downhome folk wisdom. Illustrated by C. Van Wright and Y. Hu. New York: Delacourt. Each tale dramatizes the hard-earned wisdom of a folk proverb through the humorous, homey, and sometimes supernatural tribulations of young protagonists.

101 Young, R., & Young, J. (1993). African American folktales for young readers. Little Rock, AR: August House. A compilation of 34 favorite stories from African and African American storytellers with an emphasis on delighting the minds and hearts of young children. Asian American Nhuong, H. Q. (1982). The land I lost: Adventures of a boy in Vietnam. New York: Harper & Row. Original stories from the childhood experiences of a former Vietnamese soldier now living in the United States as a consequence of a spinal cord injury suffered on the battlefields during the Vietnam War. His stories, from his native village in the central highlands of Vietnam, tell of his adventures and that of his family with real crocodiles, pythons, and his pet buffalo. Livo, N. J., & Cha, D. (1991). Folk stories of the Hmong: Peoples of Laos, Thailand, and Vietnam. Englewood, CO: Libraries Unlimited. A highly recommended collection of stories celebrating the culture and folklore of three Asian nations, including full-color photographs of Hmong dress and 27 stories appealing to children. MacDonald, M. R. (Ed.). (1995). Thai tales: Folktales of Thailand. Englewood, CO: Libraries Unlimited. A well-known author collaborates with Supaporn Vathanaprida to create an outstanding collection of folktales including humorous stories and animal tales from Asian culture. Matsutani, M. (1968). The crane maiden. New York: Parents Magazine Press. This Japanese legend tells the story of a woodcutter who discovers a crane caught in a trap. He frees the bird and it magically reappears at his home in the form of a lovely young girl. Her secret becomes the catalyst for the surprise ending. Yee, P. (1989). Tales from Gold Mountain: Stories of the Chinese in the new world. New York: Macmillan. Eight stories of Chinese immigrants reflect Old World traditions in the new world of the United States. Hispanic Baden, R. (1990). And Sunday makes seven. Niles, IL: Albert Whitman. Costa Rica is the setting for this Hispanic tale available in an English or Spanish version. Sierra, J., & Kaminski, R. (1991). The multicultural folktales: Stories to tell young children. Phoenix, AZ: Oryx.

102 A mosaic of stories from various cultural perspectives to excite the minds of children. Van Etten, T. P. (1990). Spanish American folktales: The practical wisdom of Spanish Americans in 28 eloquent and simple stories. Little Rock, AR: August House. Outstanding and unusual stories reflecting traditions and customs collected by the granddaughter of Spanish author Jose Pijoan. Vigil, A. (reteller). (1994). The corn woman: Stories and legends of the Hispanic Southwest. Englewood, CO: Libraries Unlimited. A collection of 45 stories and legends (15 are presented in Spanish) highlighting the rich heritage of Hispanics from the Aztecs to modern times, including wellloved animal tales, magical stories, and creation myths. Native American Bruchac, J. (1992). Native American animal stories. Golden, CO: Fulcrum. A collection of diverse stories by a leading Native American storyteller and author. Keams, G. (1995). Grandmother spider brings the sun: A Cherokee story. Northland. This story teaches respect for the elements of nature as told through the eyes of wolves, coyotes, and other animals. Rosen, M. (reteller). (1995). Crow and hawk. Illustrated by J. Clementson. San Diego, CA: Harcourt Brace. Originally recorded by the anthropologist Ruth Benedict, this traditional Pueblo tale, passed down from generation to generation, tells how baby crows become the children of a hawk. Wood, A. (reteller). (1995). The rainbow bridge. New York: Harcourt Brace. This powerful creation myth tells the story of how the Chumash tribe came to be and their close relationship to land and sea and how these and other natural elements become allies in their survival as a people. Part 2: Classic Tales as Retold by Various Ethnic/ Racial Groups Clino, S. (1993). The Korean cinderella. New York: Harper-Collins. The Korean version of the Cinderella tale, reflecting the cultural nuances of Korea. Ginsburg, M. (1988). The Chinese mirror. Illustrated by M. Zemach. San Diego, CA: Harcourt Brace. A villager returns from his travels to his hamlet in ancient China with an unusual treasure that he calls a

Lenox mirror. As he shares his discovery with his neighbors, each looks into the mirror and sees something different. (Adapted from a Korean folktale). Hamilton, V. (1988). In the beginning: Creation stories from around the world. San Diego, CA: Harcourt Brace. A noted storyteller selects stories with the common theme of how the world came to be, including the myths “Owner of the Sky,” “The Coming of All Things,” and “Pandora.” Tello, J., & Lopez, A. (1997). Abuelo y los tres osos/ Abuelo and the three bears. Jefferson City, MO: Scholastic. A familiar tale transformed to reflect the subtle distinctions of the Hispanic culture. Young, E. (1989). Lon Po Po: A Red Riding Hood story from China. New York: Putnam. The cultural flavor of China is reflected in this well-known story. Part 3: Storytelling Techniques, Multicultural Perspectives and Reference Resources Baker, A., & Greene, E. (1996). Storytelling art and technique (3rd ed.). New York: Bowker. An excellent book of ideas, methodology, and suggested stories by an exceptional storyteller and leading educator. Banks, J. A. (1994). An introduction to multicultural education. Boston: Allyn & Bacon. This essential resource for today’s multicultural classroom includes a guide to how to create and implement a multicultural curriculum and a criteria for selecting multicultural stories. Chase, R. (1948). Grandfather tales. Illustrated by B. Williams, Jr. Boston: Houghton-Mifflin. A rich array of stories collected by a master of the storytelling tradition. Chase, R. (1943). The Jack tales. Illustrated by B. Williams, Jr. Boston: Houghton-Mifflin. A classic collection of well-known Southern tales collected by a master of the oral tradition. Diamond, B. J., & Moore, M. A. (1995). Multicultural literacy: Mirroring the reality of the classroom. White Plains, NY: Longman. A practical guide for teachers with activities to promote interest in diversity. Kutner, L. (1997, August). Teaching tolerance: Prejudice is learned; so is acceptance. Parents, 72, 110– 111. A nationally recognized publication provides insight for teachers and parents on enhancing and understanding diversity.

Storytelling for Young Children MacDonald, M. R. (1993). The storytellers start up book: Finding, learning, performing and using folktales including 12 tellable tales. Little Rock, AR: August House. The introductory resource for teachers includes tales from the Hispanic tradition. National Association for the Preservation and Perpetuation of Storytelling. (1994). The goat in the chili patch. In Tales as tools: The power of story in the classroom. Jonesborough, TN: National Storytelling Press. An exceptional resource from a highly recognized national group. Nieto, S. (1996). Affirming diversity: The sociopolitical context of multicultural education (2nd ed.). White Plains, NY: Longman. Describes successful strategies and program initiatives to infuse multiculturalism in the classroom across the curriculum to enhance student success. Renck, M. A. (1997). Many people, many places, other times: An annotated bibliography of multicultural books for 3- to 8-year-olds. Early Childhood Education Journal 25, 45–50. An annotated collection of books suitable for use with children in preschool or primary grades. Sawyer, R. (1962). The way of the storyteller. New York: Viking. An enduring resource on the philosophy of storytelling and its value as a tool for stimulating creativity and imagination. Shade, B., & Robinson, J. (Eds.). (1989). Culture, style and the educative process. Springfield, IL: Charles C Thomas. A scholarly exploration of the importance of cultural perspectives, how children from different racial/ ethnic groups learn in the classroom, and the social and cultural effects on learning styles. Skipping Stones: A multi-ethnic children’s forum. A magazine designed to encourage young readers to share their stories in any language. The editions encourage stories from many cultural perspectives.

103 Sleeter, C. E., & Grant, C. A. (1988). Turning on learning: Five approaches for multicultural teaching plans for race, class, gender, and disability. New York: Macmillan. An excellent, practical resource for changing classroom practices to include multicultural concepts in teaching and learning. Spagnoli, C. (1995, September-October). Storytelling: A bridge to Korea. The Social Studies, 86, 221–226. The author includes suggestions for telling Korean stories more authentically by using the idioms of the language. Part 4: Compilations of Multicultural Stories from Around the World for Storytellers Bruchac, J. (1997). Tell me a tale: A book about storytelling (Including 12 stories from around the world). New York: Harcourt Brace. Excellent source of stories from the Native American tradition, as well as stories from around the world. Cohn, A. L. (Ed.). (1993). From sea to shining sea: A treasury of American folklore and folk songs. Illustrated by M. Bang et al. New York: Scholastic. Stories and songs reflecting America’s diverse cultures within the context of the history of America. Forest, H. (Compiler). (1995). Wonder tales from around the world. Little Rock, AR: August House. Forest, a professional storyteller, collects 27 timehonored tales from every continent, lacing them with lively prose, rhyming refrains, and useful source notes. REFERENCES Baker, A., & Greene, E. (1977). Storytelling art and technique. New York: Bowker. Diamond, B. J., & Moore, M. A. (1995). Multicultural literacy: Mirroring the reality of the classroom. White Plains, NY: Longman. Ford, P.K., Clegg, L. B., Miller, E., Vanderhoof, B., & Ramirez, G. (1995, November–December). How to choose the best multicultural books. Instructor, 105(4), 46–53. Sanders, S.R. (1997 Spring). The power of stories. The Georgia Review, 51, 113–126. Wong, F. E. (1991, July–August). Diversity and community: Right objectives and wrong arguments. Change, 23, 48–54.