lga3103 topic 6 the craft of storytelling

LGA 3103 STORIES FOR YOUNG LEARNERS

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TOPIC 6

THE CRAFT OF STORYTELLING

6.0 SYNOPSIS

This topic discusses some of the art and techniques that you should employ when telling

stories to young learners. They include voice projection, diction, poise, gesture, facial

expression, body movement, time, intonation and props.

6.1 LEARNING OUTCOMES

By the end of this session, you will be able to:

understand more about the various arts and techniques involved in storytelling;

enhance their story telling skills by trying out various techniques of telling stories

through activities and lesson notes provided.

create a checklist of criteria for evaluating story telling.

6.2 FRAMEWORK OF TOPICS

Intonation

Diction

Time

Voice projection

THE CRAFT OF STORYTELLING

Gestures

Facial expressions

Poise

Body movements

Props


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“The world is shaped by two things — stories told and the memories they leave behind.”

Vera Nazarian, Dreams of the Compass Rose

6.3 Introduction

Storytelling is an activity that goes back to something very old and

precious in human culture. The process of retelling a story through the

spoken word for a specific audience presents a special opportunity for the

storyteller and the audience to engage in imaginative, active listening and

participation.

Children especially love stories told with or without a book. The younger they are, the

more keen they are to respond to stories – ready to echo the sounds and gestures that you

make; mimicking your facial expressions and eager to share their own experiences. These

are some of the responses that you should aim to get when you tell your young learners

stories. As you learn and understand more about the arts and crafts of storytelling, you will

become more aware that your young learners are not only listening to your stories but even

speaking and thinking in an engaged, spontaneous and creative way.

There are many ways of telling a story especially to young learners. A storyteller

must be ready to improvise in a creative way to accommodate all the different variables of a

storytelling event such as the mood of the storyteller; the number, age and social

composition of your young learners; the setting, temperature and acoustics of the room or

venue; the time of the day, etc. Thus an effective storyteller must engage and manipulate

certain crafts and techniques (namely voice projection, diction, poise, gesture, facial

expression, body movement, time, intonation and props) to get the desired outcomes.

http://www.goodreads.com/author/show/186145.Vera_Nazarian

http://www.goodreads.com/work/quotes/6467456


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6.2.1 Voice projection.

Storytelling has all the benefits of read aloud. It improves language skills such as

vocabulary, prediction, sequencing, comprehension, story structure and recall. The

difference between read aloud and storytelling is that the act of storytelling is always active

and inventive. One of the key elements of storytelling is the voice of the storyteller: the

ability to project his/her voice and the use of different voice intonations according to the

characters in the stories told.

So how well can you project your voice? Is there anything we could do to improve our

voice projection? The following are some tips on how to project your voice as well as some

simple activities that you could try out to improve your voice projection.

a. Align your body correctly.

Good posture and body alignment will determine if you have a ‘small’ voice or a ‘big’

(well projected) voice.

To do this you need to:

relax

stand tall and stand straight – do not bend forward; do not bend your neck by looking

downwards.

Activity 1

Pair work: Student A & B

Student A to take a position in front of the class. Student B to take a

position at the back of the class.

Student A will first try to project his/her voice to Student B based on the

instructions below. Student B will give oral feedback to Student A whether

he/she can hear Student A well or not after each try.

Instructions for Student A :

Try saying ‘aaaaaaaa...’ while sitting down and with your neck bent

downwards.

Try saying ‘aaaaaaaa...’ while standing up BUT with your neck bent

downwards.

Try saying ‘aaaaaaaa...’ while standing up AND slowly lift your head

untill you can comfortably see Student B.

Now change roles.

At the end of the exercise, ask yourselves if there was a difference in

voice projection at every try?


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b. Check your breathing.

If you are only able to take small breaths, you are likely to produce a ‘small’ sound but if

you are able to take some big breaths, then it is very likely that you will be able to

produce a ‘big’ sound. Basically, you need to make sure that you use a proper breathing

technique.

To do this you need to:

place on hand on your belly (below the ribcage,

over your belly button) and one hand on your

back.

breathe in slowly, and feel the gap between

your hands get wider as your belly moves

outward.

take a few deep breaths in and out and feel the

hand on your belly moving out and in as you do

so.

now place your hands, with fingertips touching,

across your belly, just below the ribcage.

Breathe in and feel your belly move out, then

breathe out making a hard, quick “Huh” sound

– you should feel your belly contract as the

sound comes out.

repeat several times.

practice this abdominal breathing regularly so

that it becomes normal and natural (in the car,

watching TV – anywhere). Then try making different sounds. Hear how much

stronger and clearer the voice is, and how much more it projects when you breathe

abdominally.


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c. Make sure that your voice resonates well.

Your voice originates at your vocal cords and then resonates through your chest, throat,

and head as it comes out of your mouth. When people have a cold and their sinuses are

blocked, their voice doesn’t resonate well and they sound odd.

To improve your vocal tone, you need to "open up" the chest, throat, and head cavities

to allow the voice to resonate. Let’s practice by doing the following exercise.

Activity 2

Pair work: Student A & B (same sex)

1. Student A to place one hand on his chest or sternum and the other over his belly button. (Note: This fully engages the diaphragm, allowing more air to enter and exit the lungs.)

2. Breathe in and feel your belly move out, then breathe out making

a hard, quick “Huh” sound. (Note: You should feel your belly

contract as the sound comes out.)

3. Once Student A has a feel for diaphragmatic breathing, Student B now places a hand on Student A’s belly and chest as Student A continues taking deep breaths.

(Note: This allows Student A & B to see both how breathing affects the body, as well as how it looks when one is breathing properly.)

4. Now change roles and try making different sounds when you reach the 3rd step..

Discuss: How much stronger and clearer is your voice? How much more can you project it when you breathe abdominally?

Activity 3

On your own:

Step 1: Hold your nose and say with as much force as possible:

“Many mighty men making much money in the moonshine”.

Step 2: Immediately let go of your nose and say the same phrase.

Do you sound the same in Step 1 and Step 2?

(Note: You should hear the difference in the force of your vocal sound.

Try again if you didn’t.)


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Do you know that by humming, we could improve resonance? Let’s practice by doing the

following exercise.

d. Expand the shape of your mouth.

This is simply because if you have a small mouth, you will produce a ‘small’ sound.

However, if you relax and open your mouth wide, you will end up producing a ‘big’ and

clear sound.

Activity 4

On your own:

Step 1: Hum at a comfortable pitch, then move the pitch slightly lower

and pay attention to how your chest feels. Continue humming until you

can feel the vibration in your chest – try to increase the vibration in your

chest.

Step 2: Now hum while moving the pitch slightly higher and pay attention

to how your head feels. Let your mouth open gently. Hum until you feel

the vibration in your tongue and lips, behind and above your mouth.

Step 3: Continue humming. Make an attempt to increase the vibrations

in your mouth, tongue and lips.

Step 4: Finally, return to your chest again.

Step 5: Repeat the whole exercise, but always ensure you end with your

chest in order to develop a full, luscious sound.

(Note: Remember to breathe frequently, and stop if you get light

headed.)


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Now try Activity 6.

Activity 5

On your own, make the sounds in the diagram below.

Step 1: Produce the sounds as you would normally would.

Step 2: Produce the sounds by exaggerating or expanding the shape

of your mouth.

Notice the differences in the sounds that you produced.

Activity 6

Step 1: Say out loud, but slowly, the word ‘COW’ -

COOOOOOOOOOOOOOOOOW

Step 2: Say out loud, but slowly, the word ‘CLAW’ -

CLAAAAAAAAAAAAAAAAAAAW

Note: The word ‘claw’ actually help you shape the sound that you make

without the interference of your tongue.

Let’s reflect on your experience so far.

How do you feel after doing the exercises 1-6? To what extend to you

think these exercises help you project your voice? Share your thoughts

with a friend who did the same exercises.


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6.2.2 Diction

‘Well, if storytelling is important, then your narrative ability, or your ability to put into words or use what someone else has put into words effectively, is important too.’

Howard Gardner

As a storyteller, you would need to ensure you stay connected with your audience.

Apart from projecting your voice so that all can hear, you would also ensure that you use

appropriate diction where words are enunciated (from the term ‘enunciation’) carefully and

that you use your voice effectively. Stories, when told, also should not be told too fast or too

slow.

Enunciation means the formation of words, including right vocal shape to the vowels

and right form to the consonants into finished speech. As a storyteller, you are expected to

enunciate carefully and use your voice effectively so that the ‘flavour’ of the story could be

brought out: i.e., humorous story, scary story, tall tale; and show when the characters are

said, happy, frightened, sleepy, etc.

To do this you need to

practice pronouncing names or words repeatedly until you are at ease with them.

be more aware of the common errors of enunciation such as sputtering, hissing,

biting, snapping, of consonants is not enunciation.

minimise vocal faults by checking and ensuring that you use the right formation of

tone, that is, the vowel. The reason for this is that when the vowel tone is rightly

produced, all the vocal muscles are freed; the tongue, lips, and jaw act without

constraint.

learn the fundamentals of singing, and articulation, the formation of consonants,

the joining of syllables.

remember that good diction is NOT about changing your accent or making

you 'talk posh'. It is about clarity - making sure what you say is heard.

start slowly and carefully and avoid running the words together.

– especially if you are a beginner

make sure the start and end of each word is crisp.

http://www.brainyquote.com/quotes/authors/h/howard_gardner.html


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Let’s see if you are able to apply some of the tips given above.

When telling stories in English, some people forget to enunciate the ‘s’ words properly. Do

you have this problem too?

Do not worry if you do. You can overcome this problem with a bit of practice.

Study and try out Activity 2 to get some ideas.


How do you feel after doing Activities 1 and 2?

Do you have problems with certain vowel or consonant sounds?

Think of similar exercises that could help you improve on your diction.

Activity 7

Try repeating the phrases below, slowly at first, then gradually getting

faster and faster while maintaining clarity. If you trip over the words, stop,

take a deep breath and start again.

a) Red leather, yellow leather...

b) Red lorry, yellow lorry...

Get a friend to listen to you when you do this exercise.

Invite your friend to comment whether you were able to enunciate and use

your voice effectively or not.

Activity 8

If you have problems with 'S' words, practice by repeating the phrases

below. Do not rush. Say them slowly at first, then gradually getting faster

and faster while maintaining clarity. Remember, if you trip over the words,

stop, take a deep breath and start again.

o Sister Susie sat on the sea shore sewing shirts for sailors

o Moses supposes his toeses are roses,

But Moses supposes erroneously,

For nobody's toeses are posies of roses

As Moses supposes his toeses to be.


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6.2.3 Poise

The general definition of poise is:

a dignified, self-confident manner or bearing; composure; self-possession.

We know that the moment a storyteller takes a position in front of his/her audience, all eyes

would be on him/her. Some people may enjoy being in the so-called ‘limelight’ but to some,

being in front of a group of people, even children, could be a very nerve raking experience.

In other words, the experience of being in front of an audience can make a storyteller

nervous. All eyes will be on the storyteller: looking at his/her face and body; clothes and

make-up; and the way he/she stands, sits or walks.

If your list includes any nervous habits, then you are right. Examples of nervous habits are

playing with hair and shuffling of the feet. If your list includes behaviours that indicate lack of

self-confident such as not making eye contact and looking very tense, then you are also

right.

A storyteller therefore must remain poised: relaxed while presenting a story; look and sound

confident; be in control and making eye contacts with his/her listeners.

Diction Exercises

Check out the following website for some exercises on diction to help

you speak clearly.

http://imprinttrainingcenter.wordpress.com/2012/04/08/dictionexercises/

Activity 9

From your own experience, how can you tell that a person is

nervous when being in front of an audience? Jot down your

thoughts below:

_____________________________________________________

_____________________________________________________

_____________________________________________________

_____________________________________________________

_____________________________________________________

Share your answers with the person seated next to you.

http://imprinttrainingcenter.wordpress.com/2012/04/08/dictionexercises/


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6.2.4 Gestures

Gesture serves as both a tool for communication for listeners,

and a tool for thinking for speakers.

Goldin-Meadow (1999, 419)

A gesture is a form of non-verbal communication in which visible bodily actions communicate

particular messages, either in place of speech or together and in parallel with spoken words.

Gestures include movement of the hands, face, or other parts of the body. When telling a

story using gestures, the storyteller is in fact helping his/her listeners understand the story

better by giving away clues through the use of his/her body language. It is therefore quite

important for a storyteller to understand his/her own body language or gestures and when to

use or deploy them when telling a story. Effective use of gesture and body language allows

the storyteller some control over the story, the audience and how they respond during the

storytelling presentation.


Was there ever a time when you had to talk or give a

presentation, you felt nervous and lack self confidence? How did

you overcome those feelings?

Get ready to share your strategies in class.

Activity 10 a

Based on your own experience, interpret the gestures or body

language in the scenarios given.

Scenario Meaning of gestures / body

language

A man talking with his hands in his pockets?

e.g. showing confidence

A teacher folds his arms across his chests?

1.

A man stroking his chin while thinking. 2.

A lady shifting from one foot to the other.

3.


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Is there a way where we could learn to use body language effectively when we tell stories to

our young learners? The answer is ‘Yes’. Here are some suggestions on how to teach

yourselves good body language:

• Work in front of a full length dress mirror;

• If you can video yourself telling a story, do so. Playing it back will give your important

feedback.

• Go for mastery over one habit you want to modify or get rid of at a time rather than

trying to banish the lot at once.

• Remember regular smaller practices are more effective than one or two intense

longer workouts.

• Practice what you can throughout the day. You do not need to wait until you are at

home to practice standing well, or relaxing your shoulders. You can teach yourself

body language anywhere.

• Keep your gestures clear and appropriate.

• Avoid the use a flurry of gestures that bears no real relationship to the subject matter

of our speech. This type of gesture can easily become a distraction.

Types of gesture

There are many types of gestures. The most basic and well known are iconics, metaphorics,

deictics and beats. According to McNeill (1992) these types of gestures tend to occur only

Activity 10 b

Create a simple (probably common) scenario to reflect the meaning

of the gestures below

Scenario Meaning of gestures /

body language

1.

Showing anger

2. Sleepy / extremely tired

3. Showing impatience

Get ready to demonstrate the gestures through the scenarios given.


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during speaking. They are referred to as ‘speech-associated gestures’ as many researchers

have found them to have distinct roles in aiding further understanding of speech or concepts.

Other types of gestures that we shall also briefly look at include emblems, regulators, affect

displays and facial expressions.

a) Iconic gestures

• Iconic gestures or illustrators are closely related to speech, illustrating what is

being said, painting with the hands, for example when a person illustrates a

physical item by using the hands to show how big or small it is.

• Iconic gestures are different from other gestures in that they are used to show

physical, concrete items.

• Iconic gestures are useful as they add detail to the mental image that the person

is trying convey. They also show the first person or second person viewpoint that

the person is taking.

b) Metaphoric gestures

• When using metaphoric gestures, a concept is being explained.

• Gestures are in three-dimensional space and are used to shape and idea being

explained, either with specific shapes such as finger pinches and physical

shaping, or more general waving of hands that symbolizes the complexity of what

is being explained.

c) Deictics gestures

• Deictics gestures indicate a point in space.

• They accompany reference to persons, places and other spatializeable discourse

entities.

• An example is pointing to the ground while saying "Do you have an account at

Mellon or at THIS bank?'

.

d) Beats

• Beats are small formless waves of the hand that occur with heavily emphasized

words, occasions of turning over the floor to another speaker, and other kinds of

special linguistic work.

• An example is waving one's left hand briefly up and down along with the stressed

words in the phrase "Go AHEAD."


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e) Emblems

• Emblems are specific gestures with specific meaning that are consciously used

and consciously understood. They are used as substitutes for words and are

close to sign language than everyday body language.

• For example, holding up the hand with all fingers closed in except the index and

second finger, which are spread apart, can mean 'V for victory' or 'peace' (if the

palm is away from the body) or a rather rude dismissal if the palm is towards the

body.

f) Regulators

• Regulators are used to control turn-taking in conversation.

• An example: the way that as a person completes what he/she is saying, he/she

may drop the arms, whilst a person wanting to speak may raise an arm as if to

grasp the way forward.

g) Affect displays

• Gestures can also be used to display emotion, from tightening of a fist to the

many forms of self-touching and holding the self.

• Covering or rubbing eyes, ears or mouth can say 'I do not want to see/hear/say

this'. Holding hands or the whole body can indicate anxiety as the person literally

holds themselves. Self-preening can show a desire to be liked and can indicate

desire of another.

h) Facial expression

• A facial expression is one or more motions or positions of the muscles in the skin.

• These movements convey the emotional state of the individual to observers.

• Facial expressions are a form of nonverbal communication. They are a primary

means of conveying social information among humans, but also occur in most

other mammals and some other animal species.


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The importance of facial expression in storytelling

It is a well known fact that children love to mirror adult’s behaviour. For teachers like you and

me, we could use this to our advantage by incorporating technique of using facial

expressions and behaviour in storytelling. Facial expressions used in storytelling can convey

a person’s (namely the characters in the story) emotions. Without facial expressions, our

story becomes boring, limp and loses its magical attractions. Effective use of facial

expressions can help communicate the complexity of feelings to our young learners. They in

turn might refer to the expressions and gestures that we use during the storytelling session

as a point of reference to help them cope and adapt to people and society around them.

Type of expressions

Storytellers must equip themselves with some skills of expression various emotions. The

different expressions employed can have a significant impact to your story and the young

learners. For example, if when you tell fantastic and magical stories whilst your face shows

Activity 11

Pairwork: Read and reflect the statements below. Then discuss the

questions that follow.

“The ability to recognise facial expressions at the age of 5 has been

found to predict later social and academic competence.”

Ralph Adolphs (2002).

“The face is the primary canvas used to express distinct emotions

nonverbally...the ability to read facial expressions is particularly vital,

and thus a crucial component of emotional intelligence.”

Elfenbein, Marsh & Ambady (2002)

Questions:

a) What do they imply?

b) Do you agree with the statements? Why?

c) Based on your own experience as a teacher / presenter /

storyteller, list a few benefits of using facial expressions in

when telling stories to young learners.

Get ready to present your answers orally in class.


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no emotion, no expression of wonderment, you can expect your young listeners to look

bored and disconnected to you and the story. In this instant, as a storyteller, your face

should show wonderment and joy – convincing them that the story is fun and wonderful.

Here are some common facial expressions that you could use when telling stories:

i

ii

i

iiii iv

v

vi vi

Activity 12 (Pairwork)

Study the expressions above.

1. Would you help interpret the expression for iv? Get

ready to explain and justify your answer to your

partner.

2. Take turns to show each other the expressions above

– try to be as convincing as possible.


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6.2.5 Body movement

Body movement is an important part of successful communication; it reinforces,

emphasizes, and clarifies verbally expressed ideas. Because body movement is so

easily adaptable for communicating, skilled pantomimic actors can tell complicated

stories involving many characters through physical movement alone. However, your

actions while telling stories must reinforce your story rather than contradict your

words. It is important that as a storyteller, you need to make sure the image you present

and your body movements strengthen your communication to your listeners.

6.2.6 Time The aspect of time management in storytelling is one of the important aspects that must be

taken seriously by a storyteller. Assuming you are the storyteller, there are a few questions

that you need to consider:

How long is does it take to tell a story that I have chosen?

How long does it take to prepare for the storytelling performance?


Let’s check how much you know and understand about body

movement. Evaluate the statements with your partner: are they

TRUE or FALSE?

ABOUT MOVEMENT

TRUE or

FALSE

1 Movement is the motion of the whole body as

you travel about the classroom.

2 Movement attracts the attention of the

listener because the eye instinctively follows

moving objects and focuses on them

3 Movement can help you convey thoughts

to your audience.

4

To make an audience believe you are walking

through a forest you really have to see, hear and

smell the forest in you own imagination.

5 If you do your eyes and your whole body will

convey that forestry feeling.


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A storyteller must realise the importance of time and

timing. It can be your best friend if you plan well but if

you do not consider the aspect of time, it can ruin your

performance and as a result, it takes away the joy of

storytelling for you and your audience. You might end

up disappointing your keen audience or listeners.

Here are a few things you need to consider before you engage in any storytelling

performance:

a) Be punctual. It is very important that you are always on time – or even better -early

for a performance. Even if your stories are perfect for the age group to whom you will

be telling, you must know when you will be telling and the time allotted for your

performance. This will help you prepare yourself, the props and the setting for your

performance.

b) Understand the purpose of the storytelling performance. Ask yourself why you

invited to tell stories? If it is for a party, for example, then it would be wise not to

share your stories at the beginning of the programme. Instead schedule it at the end

to avoid being interrupted by the continual disruption caused by latecomers. So you

need to understand the purpose of your storytelling performance so that you can

schedule it at the right time to get the maximum impact of your storytelling.

c) Know when to stop. When planning the length of your storytelling session or

performance, pay attention to the kinds of audience you will perform to. Short active

sessions of not more that 30 minutes with lots of rhymes are best for very young

children. Telling stories in the morning might also better for this group when they are

still fresh and eager. Older children should be able to manage longer session – but

only if they are engaged and enjoying themselves. With this group of listeners, they

can stay entranced at any time of the day is fine, unless there is a special event or

recess around the corner.

In our context, during school hours, you have only limited time to tell your story.

When the bell rings, you will have to leave your group of students to go to your next

class. If it is close to recess time, students might leave you no matter how gripping

the story you are in the middle of is.


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d) Pace yourself. Regardless of where you will be performing your storytelling, you

must be prepared to tell stories that fit the time limit given to you. If you are uncertain

about the amount of time scheduled for your performance, you need to know how to

shorten your stories. Better still, have some shorter ones ready. Practice can help

pace your storytelling session. The timing and pacing within each story should also

be practiced with diligence. Stick to the time allotted to you as there might be other

events scheduled right after your performance. Vary your speed and use pauses.

You also need to learn to slow vary the speed of your storytelling act without

compromising the time scheduled for your performance. This way, you will have a

more active and attentive audience and listeners. What we want to avoid is putting

them to sleep! So, let them have time to laugh, to ‘ooh’ and ‘ah’, and to wonder what

is going to happen next. In other words, don’t race through your stories.

In short, paying attention to the timing, pacing and rhythm of your storytelling program will

guarantee a successful outcome. Consider giving your audience some time to show their

appreciation by staying up front or on the stage long enough for them to give you a rousing

round of applause at the end of the performance.

6.2.7 Intonation

Intonation is about how we say things, rather than what we say. It is also a variation

of pitch while speaking. We convey most of our message with our words, but

the intonation we use to deliver those words also sends a message. We often communicate

emotions, uncertainties, intentions to continue talking, and signals let others know we’re

finished speaking all through our intonation. Without intonation, it's impossible to understand

the expressions and thoughts that go with words.

http://busyteacher.org/classroom_activities-pronunciation/intonation_rhythm_and_stress-worksheets/


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Types of Intonation.

Here is an activity that would sum up the basic information you need on intonation.

Activity 14 Match the intonation in A with the definition in B.

A B

i Rising Intonation means the pitch of the voice rises over time [↗];

ii Falling Intonation means that the pitch falls with

time [↘];

iii Dipping Intonation

means the intonation falls and then

rises [↘↗];

iv Peaking Intonation means the intonation rises and

then falls [↗↘].

Importance of intonation

Intonation in storytelling is important. By now, you should be well aware the difference

between reading aloud and storytelling. A storyteller must concentrate on the intonation

because storytelling is not just reading aloud. The act of storytelling is always active and

inventive so you must be a little bit of an actor and introduce all sorts of emotions present in

the story, occasionally making sounds that reveal fear, happiness, sadness and similar.

The use of intonation can help a storyteller and improve storytelling in many ways such as:

• to express the emotions and feelings of the characters in the story;

• to give better understanding to the listener;

• to make the storytelling more interesting to listen to;

• to stress the important parts (e.g. Moral values).


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To convey the right intonation, you must first understand that in most cases, it is the

intonation that conveys the real meaning, not the words! The following exercise will further

explain this point and gives you a chance to practice using different intonations.

In storytelling, it is not enough just to have wonderful pronunciation skills, but speak in

monotones like a robot – your audience may misunderstand your stories and messages.

Intonation is important for communicating meaning. Coupled with wonderful pronunciation

skills, you can do wonders as you tell stories to your young learners.

6.2.8 Props

Props refer to an object used on stage by actors to further the plot or story line of a theatrical

production. 'Props' is short for 'properties', which are the physical things used on stage in

drama productions, from telephones to chairs. They are thus the 'property of the drama

company'. Small props are referred to as ‘hand props’. Examples of special props include

prop sacks, prop weapons, hero props and others.

Activity 15

Say the following sentence out loud in three different ways:

happy and excited

sad and worried

nervous and worried

I have something to tell you.

For instance, say, “I have something to tell you” in a way

that conveys that it is a serious matter that worries you, and

you’re nervous talking about it.

With a friend, try and identify the intonation for the different

feelings conveyed.


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Do storytellers use props when performing?

There are as many different styles of telling stories as there are storytellers. There are many

who never use any kind of a prop, whereas, there are just as many more who do use one,

two, or a variety of props when telling. It is really up to the teller whether or not and when or

how he or she will make use of props.

How and when to use props?

Here are some tips on how or when to use props.

i) Only use a prop or props that enhance the telling.

ii) When choosing whether or not to make use of a prop,

consider whether or not this prop will really add to the

enjoyment and telling of the story, or will it detract. For

example, if you decide to use a puppet or masks — and there

are many wonderful hand puppets and masks available — will

the audience remember the story or just the puppet and

masks?

iii) There are as many different kinds of props as the creative imaginations that

storytellers possess. If you plan to use percussion instruments to set a beat — either in

the background or for special emphasis – just use one.


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Both children and adults enjoy chiming in on the phrase when you ask them up front for help

and the beat of a drum just intensifies the mood. You can also ask your audience to either

clap or click fingers in unison.

How to tell stories and use props effectively?

You might be wondering how to manage the props as you tell your stories. Here are some

useful tips:

- You can make use of props to introduce yourself as the storyteller. You may adopt a

storytelling symbol that identifies with you in particular or carry a special banner or

sign announcing who you are.

- When telling to young children, some storytellers wear aprons with many pockets and

let the children take turns picking an object from a pocket. The object picked dictates

what story will be told next.

- Another teller has taught herself magic and weaves the tricks into her tales. She

never has a problem finding a volunteer from the audience to help her with the trick.

- Prepare your props well in advance and practice using them before you perform.

Prepare, practice, and perform.

As with all storytelling, preparation and practice are essential to giving an excellent

performance. First, if you feel you would like to make use of props, choose those that have a

relationship to the story. Ask yourself: If I use this prop, will it make the telling of this story

better and more effective? If not, don’t use it. Once you have picked a prop or props,

practice, practice, practice telling the story along with using the prop.

Select and justify.

Now, let’s take a moment to see if you could identify and justify suitable props for a

storytelling session.

Activity 15 : Individual task

Choose a short story to tell to a group of 7 year olds.

Select two items which you could enhance your performance

as a story teller (e.g. card, sock, stick and paper, card and

string, paper cups)

Justify your choices. Get ready to share your answers in

class.


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To give you an idea on how to use props, look at the sample activity below. If you think it is

suitable, try it out with your young learners.

SAMPLE ACTIVITY:

Explain that people wearing masks are actually pretending to be the character.

Emphasize that masks, like costumes, help people to tell stories by providing the

audience with a way to tell the characters apart.

Guiding Questions:

What is a mask?

What is a mask used for?

Who wears masks?

When and why are masks worn?

How have you seen masks used before?

What story can a mask tell?

Materials required

Each student will need paper, pencil and coloured pencils.

The class will need: face paints; cardboard and white paper; and elastic bands or

tape

Procedure:

Choose a favourite folktale or story to perform with masks – e.g. use a story from the

children's reading books or online sources,

Read the story selection to the students and review the details of the story.

Next, make character masks. A simple mask may be made using a circle about the

size of a dinner plate with cut-out holes for eyes and a V slit for the nose (be sure to

use another teacher or adult for cutting). Punch holes on either side of the mask and

tie a piece of yarn, string, or elastic through the holes.

Students can decorate the masks to depict the faces of the story characters. If

possible, embellish the masks with feathers, beads, glitter, fabric, and other tactile

materials.

To wear the mask: Put the mask on and tie yarn, string, or elastic around the back of

the head.

Assign small groups of students parts of the story. Each group are to present a skit

based on the chosen story, with all the characters wearing their masks.

Invite other classes to view the students' performance


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Have fun with your props.

If you enjoy using props, start a small collection. You may find some interesting props in

places like in toy stores, music stores or second-hand clothes shops.

During your storytelling session, let your audience see that you are having fun with the props

that you use. It might be a good idea to prepare props that are long lasting and indestructible

so that you can reuse them. Consider providing a small token prop for your audience to take

home - this will remind them of the story they heard you tell.

Additional Readings

Read the following article:

Storytelling Props And Puppets: How They Stimulate Language in

http://www.txsha.org/_pdf/Convention/09Convention/New%20Folder/Drake,%20P

eggy-Storytelling%20Props%20and%20Puppets.pdf

Conclusion

Every time and every performance is unique to the teller. A storyteller must at all time make

time to learn and practice using his/her crafts. A storyteller must continuously find ways to

connect with his/her audience. You need to choose your stories well, create the right setting

and environment, practice telling your stories, pace it well, vary your voice, your volume and

speed, use pauses effectively, use the right language and expressions, use techniques and

props in a creative way – just so that you can create a world a stories for your young

learners – giving them an experience they cannot forget.

http://www.txsha.org/_pdf/Convention/09Convention/New%20Folder/Drake,%20Peggy-Storytelling%20Props%20and%20Puppets.pdf

http://www.txsha.org/_pdf/Convention/09Convention/New%20Folder/Drake,%20Peggy-Storytelling%20Props%20and%20Puppets.pdf


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To give you some ideas to complete the task above, visit the following

sites:

https://www.k12.gov.sk.ca/docs/ela102030/pg077.pdf

http://www.unm.edu/~lhendr/cimte443/storycheck.htm

http://www.socialbrite.org/2010/07/15/visual-storytelling-checklist/

REFERENCES

Adolphs, R. (2002), “Recognizing emotion from facial expressions: psychological

and neurological mechanisms.” Behavioral and Cognitive Neuroscience Reviews 1: 21-61.

Angwin, R. (2005). Writing the Bright Moment. Yelverton: Fire in the Head

Elfenbein, H. A., Marsh, A., & Ambady, N. (2002). Emotional intelligence and the recognition

of emotion from facial expressions. In L. F. Barrett & P. Salovey (Eds.), The Wisdom in

Feeling: Psychological Processes in Emotional Intelligence (pp.37-59). New York: The

Guilford Press.

Johnston, K. (1999). Impro for Storytelling. London: Faber and Faber.

Goldin-Meadow, S. (1999). The role of gesture in communication and thinking. Trends in

Cognitive Science, 3, 419-429.

Tutorial Task

In groups, prepare checklist of criteria for evaluating story telling

based the notes on crafts for storytelling. Get ready to present the

draft of checklist in class to get feedback from your tutor and friends.

Email the improved version to your tutor and friends.

[Reminder: please mention your sources in the footnote.]

https://www.k12.gov.sk.ca/docs/ela102030/pg077.pdf

http://www.unm.edu/~lhendr/cimte443/storycheck.htm

http://www.socialbrite.org/2010/07/15/visual-storytelling-checklist/


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McNeill, D. (1992). Hand and Mind: What Gestures Reveal about Thought. University

of Chicago.

Mehrabian, A., & Epstien, N. (1970). A measure of emotional empathy. Journal of

Personality, 40, 525-543.

Taylor, G.J. (1984) Alexithymis:Concept, measurement, and implications for treatment.

American Journal of Psychiarty, 141, 725-732

Wright, A. (1997). Creating Stories with Children. Oxford: OUP

Internet sources:

http://www.creativekeys.net/storytellingpower/editor.html

http://storytellingcraftsandkids.blogspot.com/

http://www.timeoutchicagokids.com/arts-entertainment/arts-crafts-storytelling

ANSWER KEY

6.2.4 Gestures

Activity 11 Question c)

Suggested answers:

allows the child to practice identifying and ‘trying on’ facial expressions in a

safe environment. They can experiment with fear, with danger, with surprise,

with confusion; with jealousy…the list is endless.

teaches and prepares the child for the world around them.

helps them to ‘read’ the faces of the people around them, and this in turn

helps the child to understand what social behaviours should be encouraged in

these situations.

http://www.creativekeys.net/storytellingpower/editor.html

http://storytellingcraftsandkids.blogspot.com/

http://www.timeoutchicagokids.com/arts-entertainment/arts-crafts-storytelling


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6.2.5 Body movement

6.2.7 Intonation

Activity 14

Rising Intonation means the pitch of the voice rises over time [↗];

Falling Intonation means that the pitch falls with time [↘];

Dipping Intonation means the intonation falls and then rises [↘↗];

Peaking Intonation means the intonation rises and then falls [↗↘].


Let’s check how much you know and understand about body movement. Evaluate the

statements with your partner: are they TRUE or FALSE?

ABOUT MOVEMENT

TRUE or

FALSE

1 Movement is the motion of the whole body as you travel about

the classroom. T

2 Movement attracts the attention of the listener because the

eye instinctively follows moving objects and focuses on them T

3 Movement can help you convey thoughts to your audience. T

4

To make an audience believe you are walking through a forest you

really have to see, hear and smell the forest in you own imagination. T

5 If you do your eyes and your whole body will convey that forestry

feeling. T

Prepared by:

Noor Akbari Binti Ismail Ali

IPG Kampus Kota Bharu.

lga3103 topic 6 the craft of storytelling

Documents

young learners stories

stories ready

crafts of storytelling

things stories

introduction storytelling

storytelling event

act of storytelling

hisher voice