Participant Manual: Day Two

Major Sections

How to Learn a Story Learning About Your Own Culture
Methods of Incorporating Storytelling Prevention Skills
Glossary and Bibliography  

How to Learn a Story

From a Storyteller or Audio Tape (Learning Center #1 & #2):

Listen to the story several times.

Visualize the story as you listen, you may want to close your eyes.

Try to retell the story aloud to yourself. Make sure you find a comfortable place to try this.

Listen to the story again.

Tell the story again to yourself or to someone else.

From Written Material (Learning Center #3):

Read the story several times.

As you read, stop and visualize what is happening.

Try to retell the story aloud to yourself without looking at the story.

Read the story again.

Tell the story again to yourself or to someone else.

From Memory (Learning Center #4):

Think about a story you want to tell that you were told or a story from your own life experience.

Try to visualize elements of the story.

Put swatches of color on paper that give you the feeling of the story to open up your memories.

Try to tell the story aloud to yourself.

Tell the story again to someone else.

On returning home, you may need to do some more research to flesh out your story (i.e. interview a family member, find a written documentation of your story).

Remember you need to tell a story many times before it is stored in your memory, possibly up to 10 times. You may want to tape your story if you won't be telling it for awhile, so you can refresh your memory.

HERO/HEROINE STAGES

  1. Separation when the hero or heroine must leave home or family to prove him or herself.

  2. Initiation which includes tests of battles, dismemberment, journeys into unknown and being abducted. The hero or heroine often has special spiritual or physical "helpers" during these tests.

  3. Return when the hero or heroine returns to his or her society with the gift of individual empowerment. The hero-heroine give hope that others can survive the tests.

ORAL LITERATURE EXAMPLE

An oral literature program was developed and implemented in the 7th grade language arts curricula at Baboquivari Junior-Senior High School on the Tohono O'odham Nation.

The components of this Language Arts Oral Literature Curriculum included the following:


The results on a test that measures self-identity showed that the 39 seventh graders moved from the 16th percentile to the 47th percentile. The students self-identity as measured on the drawings moved from low average to average and showed a two year developmental gain.

Students using inhalants decreased from 34% to 23%, and students using marijuana decreased from 33% to 23% during the two month curriculum.

Other results included student ratings. Eighty-four percent of the students liked having O'odham people coming into the classroom and 62% liked the curriculum. Two comments by the students on the rating form seemed particularly compelling:

"I would like to have respect for myself and others after storytelling."

"I would change things so that more people would tell more stories about life long ago. So it will go on and on through life."

The teacher's summation of the effects of the curriculum was the following:

"I noticed a big change in the students' listening skills. Also their imagination returned which had a very big effect on their creativity."


Learning About Your Own Culture

Worksheet

The Learning Wheel: Holistic and Multicultural Lesson Planning (Copyrighted material unavailable)

PREPARING GROUPS FOR STORYTELLING

Teach importance of stories

Have people read stories to small groups

Use go-arounds in the group to foster listening


METHODS OF INCORPORATING

STORYTELLING

  1. Recruit Elders to Tell Stories

  2. Recruit Educators to Tell Favorite Stories

  3. Recruit Parents to Tell Stories

  4. Recruit People in Recovery (Use people in recovery for adult prevention groups. CSAP Prevention Plus II does not recommend people in recovery for youth.)

  5. Use Go-Arounds of People In Groups

PLANNING NEEDS

  1. Budget

  2. Transportation

  3. Understanding of Time Frame

  4. Appropriate room set up

  5. Time to arrange storytellers

  6. Ways to have participants respond afterwards (i.e. art, journal writing, etc.)

  7. Appropriate introductions

  8. Translator

  9. Relationship of storyteller to participants

  10. Ways to make storyteller comfortable

  11. Ways to insure that respect is shown

  12. Audio or video taping


STORYTELLING PREVENTION SKILLS

Add cultural/ethnic sensitivity

Help participants strengthen cultural identity

Tap Grandparents as resiliency resources

Use stories to:


RE-ENTRY WORKSHEET

  1. What prevention program do you work with or are you interested in?

  2. What are the ethnic affiliations of your participants?

  3. What are the ages of the participants?

  4. What type of stories might you use? (Examples: personal, hero or heroine, creation stories or trickster stories)

  5. When in your schedule could you add storytelling?

  6. Who could you recruit as a storyteller? (Examples: elders, grandparents, teachers, ministers or neighbors)

  7. How could you learn more about your own culture?

  8. How could you learn one or two stories from your own cultural traditions?


Glossary and Bibliography

Glossary

Story: a spoken account of something that has happened

Legend: an unverifiable story handed down from earlier times and popularly accepted as historical

Metaphor: a figure of speech that stands for something else. A metaphor suggest a resemblance and is not literal.

Myth: a traditional or legendary story usually concerned with deities or demigods

Folklore: the traditional beliefs, legends of a group of people

Tale: a narrative of some real or imagined event

Bibliography

Berlin, I.N. 1982. Prevention of emotional problems among Native-American children: Overview of developmental issues. Journal of Preventive Psychiatry 1(3): 319-330.

Block, J., J.H. Block, and S. Keyes. 1988. Longitudinally foretelling drug usage in adolescence: Early childhood personality and environmental precursors. Childhood Development 59: 336-355.

California Department of Education. 1991. A conceptual framework for planning. In Not schools alone. 1-7.

Campbell, J. 1949. The hero with a thousand faces. Princeton, NJ: Princeton University Press.

Roessel, R.A., Jr., and D. Platero, eds. 1968. Coyote and the skunk. In Coyote stories of the Navajo people. 7-30. Chinle, AZ: Navajo Curriculum Center.

Barlow, G., ed. Las Aventuras de Juan Bobo. In Leyendas Latinoamericanas. Lincolnwood, IL: National Textbook Company Publishing.

Nelson, A. 1994. Learning about your own culture worksheet. In The Learning Wheel: Holistic and Multicultural Lesson Planning. Zephyr Press.

Omoleye, A. 1990. Yoruba (African) Children's Tales. Chicago, IL.

Choi, D. Broad Bean and Red Bean.

Choi, D. Silk-Thread and Weaver. (adapted story)

Jones, F., ed. 1939. The Pancake. In Told under the green umbrella: Old stories for new Children. 10-15. New York: Macmillan Press.

Stutley, M. and J. Stutley. Ganesa's Story. In Harper's Dictionary of Hinduism: Its mythology, folklore, philosophy, literature, and history. 91-92. San Francisco, CA: Harper & Row.

Tafoya, T. 1989. Coyote's eyes: Native cognition styles. Journal of American Indian Education Special Issue, August, 29-41.

Werner, E.E. and R.S. Smith. 1982. Chapter 14: Summing Up. In Vulnerable but Invincible, A Longitudinal Study of Resilient Children and Youth. New York: Adams, Bannister, Cox.

Westermeyer, J. and J. Neider. 1985. Cultural affiliation among Native American Indian alcoholics: Correlations and change over a ten year period. Journal of Operational Psychiatry 16(2): 17-23.XI.

Yazzie, E., ed. 1971. Navajo History, Volume 1, 9-46. Many Farms, AZ: Navajo Community College Press. Written under the direction of the Navajo Curriculum Center, Rough Rock Demonstration School, Chinle, AZ.