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MensajeTema: Story Art   Lun Feb 16, 2009 1:24 pm

Concepts and Activities
by Heather Forest


It is empowering for a child to be able to express his or her thoughts and feelings articulately through oral language.

The art of storytelling can be an enjoyable tool for practicing both listening skills and verbal expression.

Teachers can effectively model interesting, expressive language for students to emulate.

New vocabulary can be introduced and easily comprehended within a story's context.

Diverse ways in which language is used can be depicted in folktales, including instructions, recipes, secrets, riddles, warnings, questions, and explanations.

People learn new skills when they are interested in the topic or when it is useful to them. Finding folktales to tell can stimulate reading and research interest. Folktale collections can be found in the 398.2 section of library.

Storytelling is a way to emphasize the uniqueness of each person's imagination.

Imagination can generate language.

Comprehension, or the ability to make sense of a story's plot, is facilitated by being able to mentally map the story's main events.


Simplify the plot of a folktale into a story skeleton and then, using personal imagination, flesh it out as a retelling. Use vocabulary that is based on visualization of the tale.

As a preliminary step in learning a traditional folktale to retell, sequence the story as a map, a mural, an outline, a flow chart or any other form which summarizes the flow of events.

Make sense of a tale by sequencing the tale as a time line.

Explore pre

prepared story skeletons given on a printed sheet by having partners read the tale out loud to each other and then improvise a retelling in their own words.

Read a picture book out loud to students whose eyes are closed. Without showing them the book's illustrations, discuss the pictures students saw in their imagination. Then compare and discuss the illustrator's vision of the tale as the book's pictures are shown.

Explore acting out the characters in the story to bring color and variety into the face and voice.

Try retelling a story using lots of characterization as well as being the narrator.

Arrange to trade classes with another teacher for a few minutes to try the story out on new ears.

Explore spontaneous speech or improvisational language by making up oral poetry.

Try reading a folktale out loud one day and then, visualizing it like a movie, retell it in your own words the next day.

Ask the students to retell the tale in their own words with the prompt, "And then what happened next? Have them act the story out as a play.

Improvisation: Retelling a small section of a printed tale as part of a chain story. Each person tells a bit of the story until it's over.

Create a story corner in the classroom where stories are read or told by both students and teachers.

Have a Story Exchange Week. During this celebration of stories, teachers can use their story corners as a place to have guest teachers from other classrooms share favorite stories. The stories could be read (with lots of characterization) or retold.

Students could ask parents or older family members to tell them something amusing or interesting they remember the student doing when they were small. Students could share this autobiographical tale in the story corner.

Students could make a class book retelling a favorite folktale and send it to other classes.

Tell students personal tales recounting stories of your youth.

Copyright ©️ 2000 Heather Forest

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MensajeTema: Re: Story Art   Lun Feb 16, 2009 1:25 pm

The Power of Words:
Leadership, Metaphor and Story
Forest, Heather. The Power of Words: Leadership, Metaphor and Story. Proceedings of 8th Annual International Leadership Association (ILA) Conference., Leadership at the Crossroads, 2-5 Nov. 2006, Chicago, IL. CD-ROM. College Park, MD: ILA, 2007
Heather Forest
Story Arts Inc.
PO Box 354
Huntington, NY 11743
©️ 2006 Heather Forest
The Power of Words:
Leadership, Metaphor and Story
By Heather Forest
An effective leader must be a competent storyteller who can use oral communication skills to create a vivid and compassionate narrative. Since ancient times, sharing stories and unified metaphors has created commonality in our seemingly separate yet interpenetrating realities. It is the choice of shared language that contributes to shared meaning. Leaders who are aware of the power of story and metaphor to convey ideas can more effectively and responsibly guide the leadership and change process.
In reviewing Howard Gardner’s Leading Minds, a book that tells the stories of eleven major contemporary leaders in the public sphere, Warren Bennis (1996) notes, “Uncommon eloquence marks every one of Gardner’s leaders, but I have yet to see public speaking listed on a resume. . . .Effective leaders put words to the formless longings and deeply felt needs of others. . . They create communities out of words.” (p.160). A leader can have a powerful vision for positive social change. But, if it is not well communicated and, therefore, no one can “see” it, there may be little impact.
Since ancient times ideas and values embedded in stories and metaphor have educated, inspired and motivated listeners. Martin Luther King did not just have a dream. “He could describe it . . . it became public and therefore accessible to millions of people” (Pondy, 1978, p.95). King communicated his dream in words, stories and metaphor. In doing so, he catalyzed a social movement.
Emotional Content of Language and Metaphor
Benjamin Lee Whorf’s linguistic theories in his pivotal book of essays Language, Thought and Reality (1956) proposes that the structure of language is an important factor in the way a person perceives reality and then responds to it. He points out that “thinking is most mysterious, and by far the greatest light upon it that we have is thrown by the study of language. This study shows that the forms of a person’s thoughts are controlled by inexorable laws of pattern of which he is unconscious . . . These patterns are the unperceived, intricate systematizations of his own language” (Whorf, 1956, p.252).
Story is a complex form of metaphor. George Lakoff and Mark Johnson (2003) point out that “new metaphors have the power to create new reality . . . this can happen when we start to comprehend our experience in terms of metaphor, and it becomes a deeper reality when we begin to act in terms of it . . . If a new metaphor enters the conceptual system that we base our action on, it will alter that conceptual system and the perceptions and actions that the system gives rise to” (p.145).
Contemporary knowledge in the field of neuroscience, cognition, and linguistics has revealed that carefully chosen language, metaphor and story can shape and direct a listener’s thinking, motivate, inspire, and initiate social change (Lakoff, 2004). “Because we reason in terms of metaphor, the metaphors we use determine a great deal about how we live our lives” (Lakoff and Johnson, 2003, p.244). “You don’t have a choice as to whether to think metaphorically. . . metaphor is a neural phenomenon” (Lakoff and Johnson, 2003, p. 256-257). “Metaphors are among our principal vehicles for understanding and they play a central role in the construction of reality” (Lakoff and Johnson, 2003, p.159).
Neuroscientists have come to understand metaphor as a neuro-linguistic activity that is reflected in language use, which, in turn structures thought. By creating new concept linkages, communicators alter the neural maps of their listeners. “The frames are in the synapses of our brains, physically present in the form of neural circuitry (Lakoff, 2004, p. 73). Therefore, a new idea that can be incorporated into our prior knowledge, physically changes us at the neural level.
The Power of Stories
Through stories, the chaos of experience is put into a simple linear form by the storyteller. Ironically, real life is not linear. A multiple story reality with conflicting plotlines is closer to the truth of human interaction (Boje, 2001).
In his essay Leadership is a Language Game (1978), Louis Pondy writes, “The dual capacity to make sense of things and to put them into language meaningful to large numbers of people gives the person who has it enormous leverage”(p.95). Pondy muses about the power this type of leverage has and wonders what to call this skill. In their book The Art of Framing: Managing the Language of Leadership (1996), Gail Fairhurst and Robert Sarr propose that the skill Pondy describes is “framing” and that it can be learned.
Framing is a “quality” of communication that selects and highlights certain aspects of a situation over others so that one meaning is accepted over others by listeners. (Fairhurst and Sarr, 1996). This is an applied use of Lakoff and Johnson’s (2003) description of how “categories” are linguistically constructed in the mind. Categorization is a basic cognitive process that occurs at an unconscious level that links similar items by “masking” or “hiding” others (Lakoff and Johnson, 2003).
From a constructivist perspective, the underlying assumption of “framing” is that there are many possible meanings that can be inferred from any situation. According to Fairhurst and Sarr (1996), a good “framer” carefully highlights the meaning in a situation that serves their vision best. “If we are going to frame well, our vision must provide a picture into which others can insert themselves (Fairhurst and Sarr, 1996, p.53).
In his book Don’t Think of an Elephant (2004), George Lakoff also refers to mental models as frames and states “Reframing is social change. . .Reframing is changing the way the public sees the world. . .because language activates frames, new language is required for new frames. . .Thinking differently requires speaking differently” (p.xv).
Problematically, the skill of “framing” could be used to further the agenda of both ethical and unethical speakers. A mitigating factor is that it is also only possible to “frame” when other people’s “mental models” (Senge, 1990) are “permeable” enough to let in new information (Fairhust and Sarr, 1996).
Stories as Metaphor
If stories are metaphorical tools then they are power tools and must be used responsibly. Stories are a complex, multilevel form of metaphor and because of their engaging nature hold a listener’s attention better than a string of disconnected facts. Stories are more easily remembered than facts. When someone hears a story, the tale is cognitively processed in the spatial memory section of the brain, an area that stores experience, unlike facts, which are processed in the taxon memory centers of the brain, an area where disconnected and unrelated information is stored (Caine, R.N., and Caine, G., 1991).
It is empowering for a listener to make a creative leap and connect the metaphor of a story to the story of his or her own life. Recognizing and creatively processing an analogy is a way of personally embodying information as experience. Experiential learning or “active processing” of connections (Caine, R.N., and Caine, G., 1991) contributes to the memorable nature of stories presented as metaphor to make a point.
Choosing Stories to Tell
Sometimes it is in the introduction or the contextualizing of the story that the practical application of a metaphorical story can be implied by the storyteller. Sometimes it is in the choosing of just the right story to make a point that the connective power of story is manifested.
A famous 18th century rabbi and storyteller, the Maggid of Dubno, was once asked how he managed to always have the right story to make his point in any given situation. His reply was to tell a story.
A Tale from Eastern Europe
There was once a famous archer who entered a village and saw several targets drawn on a wall. In the absolute center of each target was an arrow. The archer asked the villagers, “Who has accomplished this amazing feat?”
The villagers laughed and said, “It was the village fool who did it.”
The archer said. “Bring me to this “fool” for he is truly a great master.
The archer was brought before the village fool. He reverently bowed low and said, “Great master, tell me, how are you able to shoot a bull’s eye every time?”
The village fool replied with a grin, “It is easy! First I shoot the arrow and then I draw the target.”
The Maggid of Dubno, it is said, explained, “It is the same with stories. First I introduce the topic for which I have the perfect story, and then the story helps me to make my point every time.
(Retold by Heather Forest, based on a tale from Nathan Ausubel’s “A Treasury of Jewish Folklore” (1948) and the oral storytelling of Peninnah Schram)
Building a Repertoire of Stories
Mark Lakoff (2004), offering advice to those who would like to use stories to metaphorically support an idea, suggests that speakers “find stories where your “frame” is built into the story. . .Build up a stock of effective stories” (p.116). Wisdom tales such as Japanese Zen stories, Middle Eastern Sufi tales, Greek Aesop’s fables, Chinese Taoist parables and Indian Jataka tales (Forest, 1996) have long been culturally used as teaching tools and are good sources for metaphorical tales. Personal experiential stories that embody applicable ideas can be useful when they rise to the level of metaphor and transcend the experience of a single person to connect to the experience of many. Written history holds is a wide realm of plot material from which to draw. It is the artfulness of the tale bearer to choose the appropriate story to support the communication needs of any given situation.

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MensajeTema: Re: Story Art   Lun Feb 16, 2009 1:26 pm

One of the most empowering advantages of using stories to communicate is that, “instead of directly telling someone to consider something, “stories present a series of images. . .The images incubate and later re-emerge as “spontaneous” insights” (Groth-Marnot, 1992). Throughout history stories have been used to indirectly present information, engaging the
listener in creative thinking. “An entertaining story can gently enter the interior world of a listener. Over time, a tale can take root, like a seed rich with information, and blossom into new awareness and understanding” (Forest, 1996, p.9).
The stories we hear throughout our lives help to shape the way we each perceive both our personal world and the complex context in which we live. “The narrative of any life is part of an interlocking set of narratives.” (MacIntyre, 1984, p.218). We are each the central character in our own drama and bit players in each other’s drama (MacIntyre, 1984). It is through narrative that we attempt to make sense of our lives as logically sequenced stories. It is ironic that seemingly solid stories shift and reconfigure as we remember, retell, and reinterpret our memories over time.
Story Chaos: Antenarrative
Although it is comforting to reduce the dynamic chaos of life into an intelligible sequence of events that makes chronological sense, human organizations from the nuclear family to the global empire do not always reduce down to neat plotlines. David Boje, the author of Narrative Methods for Organizational and Communication Research (2001) is not interested in the neatly structured linear tale so useful in making sense of roles and reality. He writes about what he calls, antenarrative the “non-linear, incoherent, collective, un-plotted, and pre-narrative speculation” (Boje, 2001, p.1) when stories are “still in flux.” (2001, p.4). Boje explores what he calls the “story soup,” the pot of “microstoria” that is omitted from the official tale gelled by the hegemony.
Boje’s thoughts on “un-plotted” narrative were metaphorically inspired by the long running Los Angeles experimental theatre play, Tamara, in which the audience follows, runs
after, and chases, the actors through a house to discover the ever-changing ending of a mystery story. The play’s chaotic and totally unstructured narrative plotline inspired Boje’s (2001) theory of “plurivocal” interpretation of organizational stories. His focus on “multi-stranded stories of experiences that lack collective consensus, seeks alternatives to the fiat of the single-voiced, single-authored narrative dictating organizational memory” (Boje, 2001, p.9).
Boje’s theory of the antenarrative story of reality allows for the deconstruction and reinterpretation of social and political events to include voices that have previously not been included in the official version of any tale. It allows for the revisioning of history as well as the broader telling of current events. It permits simultaneous and contradictory versions of reality to coexist. Sharing and accepting contradictory stories may be the first step to justice and peace.
Why are Stories So Powerful?
Rabbi Jacob Kranz, the Maggid of Dubno, an 18th century Eastern European rabbi, was once asked, “Why are stories so powerful? Why do they have an impact and penetrate to the heart of every matter?” His legendary reply was to tell the following story.
Naked Truth walked down the street one day.
People turned their eyes away.
Parable arrived, draped in decoration.
People greeted Parable with celebration.
Naked Truth sat alone, sad and unattired,
"Why are you so miserable?" Parable inquired.
Naked Truth replied, "I'm not welcome anymore.
Parable dressed Naked Truth in story's fine attire,
with metaphor, poignant prose, and plots to inspire.
With laughter and tears and adventure to unveil,
together they went forth to spin a tale.
People opened their doors and served them their best.
Naked Truth dressed in story was a welcome guest.
(Forest, 1996) 10
Bennis, W. (1996). The leader as storyteller. Harvard Business Review, 74(1), 154.
Boje, D. M. (2001). Narrative methods for organizational and communication research. London ; Thousand Oaks, CA: Sage.
Caine, R. N., & Caine, G. (1991). Making connections: Teaching and the human brain. Alexandria, Va.: Association for Supervision and Curriculum Development.
Fairhurst, G. T., & Sarr, R. A. (1996). The art of framing: Managing the language of leadership (1st ed.). San Francisco: Jossey-Bass.
Forest, H. (1996). Wisdom tales from around the world. Little Rock: August House.
Gardner, H., & Laskin, E. (1995). Leading minds : An anatomy of leadership. New York, NY: Basic Books.
Groth Marnat, G. (1992). Past traditions of therapeutic metaphor. Psychology: A Journal of Human Behavior, 29(3-4), 40-47.
Lakoff, G. (2004). Don't think of an elephant! Know your values and frame the debate: The essential guide for progressives. White River Junction, Vt.: Chelsea Green .
Lakoff, G., & Johnson, M. (2003). Metaphors we live by. Chicago: University of Chicago Press.
MacIntyre, A. C. (1984). After virtue : A study in moral theory (2nd ed.). Notre Dame, Ind.: University of Notre Dame Press.
Pondy, L. R. (1978). Leadership is a Language Game. In McCall, M. W., & Lombardo, M. M.(Ed.), Leadership: Where else can we go? (pp.87-99). Durham, N.C: Duke University Press.
Senge, P. M. (1990). The fifth discipline: The art and practice of the learning organization (1st ed.). New York: Doubleday/Currency.
Whorf, B. L. (1956). Language, thought, and reality; selected writings. Cambridge: Technology Press of Massachusetts Institute of Technology.

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MensajeTema: Re: Story Art   Lun Feb 16, 2009 1:27 pm

Copyright and Fair Use of Published Materials
by Heather Forest

Fair Use

Teachers, librarians and educators working within the context of their jobs in an educational setting are free to use material that has a copyright without asking permission of the author. Using the material for personal financial gain by performing it for a fee or by publishing it in any media outside of the educational context requires permission of the copyright holder.

What is a copyright?

In our modern society, according to American copyright law, when an artist claims ownership of an original personally created artistic "work,", they can write c with a circle around it, the date beside it, and their name ((c) 1998 Heather Forest) on a "fixed" version of the work, such as a tape or a manuscript. With the copyright notice clearly legible, the documented version of the work could be then kept in a safe retrievable place or, for safekeeping, an artist can officially register the work with the copyright office in Washington D.C. This copyright claim allows an artist to require that others obtain their verbal or written permission to use or reproduce the work or must offer the artist financial compensation for the use or reproduction of the protected work. This extends also to permission to make a derivative version of the copyrighted work such as a film from a novel, a song from an original short story, or a performance piece based on a field-collected folktale that has only one copyrighted translation available in English. The financial compensation is often negotiable and could range from a one-time licensing fee, to a mechanical licensing fee based on the number of copies manufactured, to royalties paid based on the number of manufactured copies sold. Forms to register works and printed information on copyright basics can be obtained by writing to: Copyright Office, Library of Congress, Washington, D.C. 20559.

Storytelling Ethics

Some storytellers consider the plots of folktales to be public domain entities and, as such, do not treat them as the property of any individual or group in particular. Other tellers feel that folktale plots belong to the descendants of the culture from which they derive. Without proper study of the culture and context of the tale, tellers who delve into unfamiliar cultures to find performance material can be like clumsy cultural imperialists, taking plots which have deep meaning in their cultural context and prostituting them for personal gain. There needs to be ongoing discussion on this topic in the storytelling community. Scholarship, intuition, and respect for the plot can help a teller determine if a tale is a proper one to present. Choosing appropriate tales to tell is as much a part of the artistic process as learning to tell the tale. Some tellers say that the tale chooses them. If a tale from an unfamiliar culture resonates within the teller who wishes to be a vehicle for it, then sometimes it can be very appropriate for the teller to attempt to present it. It is a matter of the heart. However, to do justice to a traditional tale, respect and understanding of its cultural context is essential.

Developing Repertoire Based on Folktales in Print or Recorded Media

If a folktale appears in printed or recorded media in multiple versions, each printed or recorded version claims a legal copyright notice. However, this is not for the plot of the folktale, but for the fixed arrangements of the words used to narrate the plot. If a teller uses the exact words of a printed or recorded text, then permission must be obtained from the publisher to use those particular words if the text will be told for pay. Royalties would be due if it were to be recorded or reprinted. If, on the other hand, the teller researches the story, finds all the variants of the tale in print or on tape, adapts it, edits it, and constructs a unique retelling of the tale, then no legal permission is needed to present the new version of the story. The teller can then actually claim copyright, not to the plot, but to their own version of the tale.

Giving Credit

If there is a particular version of a folktale which brought the tale to light for a teller, and which inspired further research or was especially influential in the retelling, often, as an artistic courtesy, tellers will give credit to that source. If there is a particular teller for whom the story is a signature piece, or if the teller heard the tale orally from another, tellers will often cite that teller before telling the tale as well. It is a matter not of law but of conscience. As a community we can choose to respond only to the written law or we can create an atmosphere of fairness and justice among ourselves that goes beyond copyright law. A story is invisible. It feels in some ways like the wind. It can't really be owned. But we each do know what is original with us... what we have honestly invented. We must be aware of what we have brought to the telling of the tale. In the interests of fairness and peace, when we support each other with respect for the time, effort, and invention we each put into our art, then we can alleviate the thorniest issues of tellers lazily or disrespectfully copying ideas, stylistics, or text from others. Part of the work of a storyteller is to personally know or create a body of work that reflects their deepest convictions, passions, interests, and spirit. This takes time, perhaps a lifetime.

Copyright ©️ 2000 Heather Forest

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The Voice as an Instrument
by Heather Forest

Although I weave original music into the tapestry of my telling, I am not a trained musician. I taught myself to play guitar in my early teens and sang folk ballads popular during the folk music revival of the sixties. In the early 1970's, my love for folk literature and an affinity for singing and composing melodies led me to start creating original ballads based on world tales. I have enjoyed the process of exploring the terrain of my voice. As a workshop leader, I try to encourage tellers to think of their voice as a unique instrument. Here are some thoughts on the subject:

As an instrument, the human speaking voice produces a wide variety of pitches, offers complex tonality, and has percussive capacity. By subtly shifting the pitch or rhythm of words in a sentence, a storyteller can dramatically change the communication and convey multilevel nuances. For example, try saying, "I said I would go" as if you are surprised, then, as if you are defiant, then, as if you are confessing a crime. As you speak, listen to your voice and notice how the "music" of the sentence changes. Say the same sentence five times and, each time, emphasize or rhythmically accent a different word. Listen to how the communication changes when the "music" is altered.

The same instrument, the vocal chords, produces the sound of both speaking and singing. These two tiny muscles allow us to whisper, speak, sing, and scream. I have always wondered why some people insist that they can whisper, speak and scream, but can't sing. Perhaps someone unfortunately traumatized them in youth by telling them to only mouth the words in chorus. It is true that we are not all opera singers, but it is not fair to deny anyone the pleasure of recognizing and appreciating all the tones and textures that can be produced by their own distinct voice.

If we redefine song as simply an intentional pattern of rhythm, pitch, dynamics and tonality, then spoken words can be described as having qualities similar to words that are sung. Singing, as we recognize it, is just one color on the wide spectrum of what the natural voice can do. I am not speaking here of opera singing, but of humming or simply expressing melody.

Moving from Speech to Song

It is an interesting exploration to vocally play with the subtle edge between speech and song. To create, for example, a melody for a line of spoken text in a story, first, carefully listen to yourself express the narrow range of actual pitches made when the line is expressively spoken. Move those pitches toward a slightly different, "smoother" tonality and use those "notes" to create the melody. Listen carefully to the rhythm of a sentence until you could actually clap the pattern. Merging the suggested melody and rhythm and then pushing them into the tonality of song is a short leap. By taking a small pitch step into melody, one need not take an unsteady giant leap into an operatic voice to consider oneself "singing" a passage. Renaissance sculptor Michelangelo said that he did not "make" the sculpture but rather "liberated it" from the stone. Often I feel that I am not composing a melody but rather finding the melody that is already suggested by the speech pattern. This is especially useful in finding simple melodies for repeated refrains in stories for very young listeners. A tune does not have to be complicated or have a wide pitch range. A song could have just one or two notes sung in a rhythm. Listen to birdsongs for inspiration!

Using Song in Story

When it serves the story, I enjoy weaving song in and out of spoken tales. I might move the story along by singing the narration. A musical theme or sound that represents a particular character might be heard whenever that character enters the tale. A song could be used as an introduction to the story, or it could be embedded in the tale as a repeated refrain for young children to sing along with. The song could happen after the story, as a comment or a closing.


Listening is the key to creating a pleasing tonality in both speech and song. Our own ear can shape the sound of our instrument. Ironically, one of the most powerful elements of vocal music is silence. It is the silence between the sounds that creates rhythmic pattern and emotional suspense. It is the silence in the form of a pause that creates effective comic timing. Listen to the silence as well as the sound.

Taking Care of Your Instrument

The vocal chords produce the voice. These two, very small muscles at the base of the throat vibrate and create sound when controlled breath passes through them. There is only a tiny space between the two chords. The smallest irritation and swelling of the surface of the vocal chords can cause the sound produced to change. If the sound you hear is slightly hoarse or raspy, then the vocal chords are slightly swollen. If no sound can be produced, i.e. you have laryngitis, then the vocal chords are so swollen that they cannot vibrate and thus produce no sound. The cure for laryngitis is total voice rest. Silence for a few days is a small price to pay for protecting an instrument that must last an artist a lifetime.

Sound reinforcement, or using a microphone when addressing a large group, is also a way to protect your instrument. Developing strong stomach muscles to support the sound is another protective tool. Jogging and singing at the same time is a challenging way to build breath control and stamina.

To improve your tone, listen to yourself as you speak and sing. Play with the pitches. Sing in the shower, in cars, and alone to the trees in the meadow. Exercise your vocal muscles. Have fun. Carefully observe the sounds you make to gain better control. The more delight you take in your own natural instrument and instinctive musicality, the more delight listeners will have in hearing you.

Copyright ©️ 1997 Heather Forest

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MensajeTema: Re: Story Art   Lun Feb 16, 2009 1:29 pm

Plot Collection:

Stories in a Nutshell...Concise Plots For the Retelling
These very short versions of folktales from around the world are retold by Heather Forest.

Aesop's ABC...Twenty Six Fables
These alphabetically organized selections of Aesop's fables are retold by Heather Forest.

More Story Resources:

A Storytelling Bookshelf for Teachers
A list of books which offer an overview of uses for storytelling in the classroom.

A Storytelling Audio Collection for the Classroom
A list of audiotapes which offer a range of styles and multicultural tales by professional tellers.


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MensajeTema: Re: Story Art   Lun Feb 16, 2009 1:32 pm

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