Future File - Weeblystorytellingideas.weebly.com/.../0/4/14047977/futurefile.pdf · 2018-09-07 ·...

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Future FileContents and Page NumberAfrica Misc.2 Mrs. Chicken and the Hungry Crocodile 27 What A Pig!3 Why Mosquitos Buzz in Peoples Ears4 Mabela the Clever5 Anansi6 The Origin of Life on Earth

Asia7 The Boy of the Three Year Nap8 The Nightingale9 King Midas and the Golden Touch10 Tsunami!11 RikkiTikkiTavi

Europe12 A Strange Visitor13 Stone Soup14 Grandma Chicken Legs15 The Three Bears16 Rumplestiltskin

North America17 Sody Salleratus18 The Talking Eggs19 Napi and the BuffaloStealer20 Nanook, the White Bear21 Tale of Tricky Fox

Central America22 The Earth Giants23 Squeaky Door

South America24 Marlina and the Beautiful Cockroach25 Mariana and the Merchild26 Armadillo’s Song

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STORYTELLING IDEASFrom the Future File of Amy Williams

TITLE: Mrs. Chicken and the Hungry Crocodile

CULTURAL ORIGINS: Liberia,Dan People, Northeastern Africa

AUDIENCE: 3 yrs and up, any setting

SUMMARY:Narcissistic Mrs. Chicken, not satisfied with the small reflection she can see in a puddle,makes her way to the river where a hungry predator lies in wait. Seeing Crocodile insteadof herself in the water, she is amazed by what she thinks is her new appearance and turnsthis way and that while the wily reptile mirrors her movements. When Mrs. Chicken stepsinto the river for a closer look, Crocodile quickly catches her and takes her home to eat. Butthe fowl turns out to be clever enough to concoct an eggswitching scheme that convincesCrocodile that they are sisters, and Mrs. Chicken eventually wins freedom for herself andher offspring.

ADAPTATIONS:● A story that requires many tones. Calmer at first while Mrs. Chicken sees herself in

a puddle. It should become more exciting when the crocodile appears.● Create voices for both characters, a more sneaky voice for the crocodile.

SOURCES:Paye, WonLdy and Lippert, Margaret H. Mrs. Chicken and the Hungry Crocodile. NewYork: Henry Holt and Company, 2003. Print

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TITLE: Why Mosquitoes Buzz in People’s Ears

CULTURAL ORIGINS: West Africa


SUMMARY:The mosquito lies to a lizard, who puts sticks in his ears and ends up frightening anotheranimal, which down a long line causes a panic. In the end, an owlet is killed and the owl istoo sad to wake the sun until the animals hold court and find out who is responsible. Themosquito is eventually found out, but it hides in order to escape punishment. So now itconstantly buzzes in people's ears to find out if everyone is still angry at it.

ADAPTATIONS:● A story that is somewhat silly, but not completely crazy.● Has a fearful tone at the beginning because animals are afraid of something

dangerous in the jungle.● Develop voices for all the characters and there are many of them.● Develop sounds for each characters movement (ideas of sounds in book)

SOURCES:Aardema, Verna. Why Mosquitoes Buzz in People’s Ears. New York: Dial Books forYoung Readers, 1975. Print.

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TITLE: Mabela the Clever

CULTURAL ORIGINS: Sierra Leone, Africa


SUMMARY:The silly mice in Mabela's village are hunted by one clever cat. Thankfully, Mabela is prettyclever herself compared to most of her peers. When the cat invites the mice to join her"secret Cat Society," they can hardly believe their luck. All they have to do is lead the catinto the forest, sing at the top of their lungs, and never look back. Because she is thesmallest mouse, Mabela is the first in line. With every loud refrain, however, she noticessubstantial evidence that fewer and fewer mice seem to be singing and marching behindher. Remembering her wise father's advice for survival when she is "out and about,"Mabela manages to save her friends and leave the treacherous cat tangled in thorns.

ADAPTATIONS:● A fun story where the mouse wins.● Tell with a light and fun tone.● Cat should have a sneaky voice. Mice should have a squeaky voice.● Develop a tune to go with the marching song the mice sing. One is included in the

book which may work.

SOURCES:MacDonald, Margaret Read. Mabela the Clever. Morton Grove, IL: Albert Whitman &Comapny, 2001. Print.

Finnegan, Ruth. Limba Stories and Storytelling. Oxford, England: Oxford University Press,1967. Print.

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TITLE: Anansi the Spider

CULTURAL ORIGINS: Ashanti People, Ghana, West Africa


SUMMARY:When Anansi sets out on a dangerous journey and gets into all sorts of trouble, each sondoes one thing to help, and all their efforts together save their father. He finds a mysterious,beautiful globe of light in the forest, and decides to make it a gift of thanks. But which sonshould receive the prize? Even with the help of Nyame, the God of All Things, he can'tdecide, so Nyame takes the great globe up into the sky, and that's where it has stayed eversincethe moon, for all to see.

ADAPTATIONS:● A more serious story. Use a calm, quiet voice and slower pace.● Embellish the story, book has little details so it needs more description about the

setting and creatures.● Talk more about the sons and why they are named what they are named.

SOURCES:McDermott, Gerald. Anansi the Spider. New York: Henry Holt and Company, 1987. Print.

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TITLE: The Origin of Life on Earth

CULTURAL ORIGINS: Nigeria, Yoruba People, West Africa


SUMMARY:This creation myth begins in the heavenly court of the allpowerful and his agents, male andfemale orishas. All the orishas are content, save one named Obtala, whose wonderingimpels him to employ his power in some meaningful way. He prepares thoughtfully for thiswork, aided by his fellow orishas, and descends from heaven on a golden chain. He takessoil that has been sown with the personality of the orishas and forms humans in his ownimage so that the resulting creatures (even the imperfect ones) are beautiful to behold. Theallpowerful then brings them to life and sets the earth spinning.

ADAPTATIONS:● An origin story that should be told with an authoritative but caring tone.● A more serious story discussing the beginning of life.● Should be told at a slower pace.● The Origin of Life on Earth book includes a glossary with pronunciations of African

words.

SOURCES:Anderson, David A. The Origin of Life on Earth. Mt. Airy, MD.: Sights Productions, 1996.

“The Golden Chain.” Creation Stories from Around the World. Jul 2000. Web. 6 Mar.2013.

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TITLE: The Boy of the Three Year Nap

CULTURAL ORIGINS: Nagara River, Japan


SUMMARY:A very industrious widow watches her very lazy teenage son, Taro, grow up. Taro cannot becoaxed into working, despite his mother's pleas, until he falls in love with a rich merchant'sdaughter and hatches a scheme to make himself wealthy.

ADAPTATIONS:● A light hearted story about a mother trying to make her son a more responsible

adult.● Should be told with a frustrated, motherly tone at the beginning.● When Taro becomes the “goblin” use a scarier voice and create a darker tone.● When the mother figures out her son’s plan she then develops her own plan. The

mother should then have a knowing and cunning tone.

SOURCES:Snyder, Dianne. The Boy of the Three Year Nap. Boston: Houghton Mifflen Company,1988. Print.

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TITLE: The Nightingale

CULTURAL ORIGINS: Usually China, Asia Jerry Pinkney’s version he chose to set it inMorocco.


SUMMARY:The Emperor of China lives in the most marvelous palace in the world, made entirely ofporcelain, and his garden is full of the rarest flowers. But loveliest of all so say visitors tohis realm is the song of the nightingale in the forest by the sea. Though his bustlingcourtiers can’t find her, a clever kitchen maid can, and the nightingale soon enchants theEmperor with her song. Eventually, however, after saving the life of the Emperor, themodest nightingale chooses to return to her peaceful life in the forest.

ADAPTATIONS:● A beautiful story that shows even little things can be special.● Should be told in a sweet and tender tone, at a slow pace.

SOURCES:Pinkney, Jerry. The Nightingale. New York: Phyllis Fogelman Books, 2002. Print.

Anderson, Hans Christian. Illus. by Huerta, Catherine. The Nightingale. Kansas City:Universal Press Syndicate Company, 1992. Print.

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TITLE: King Midas

CULTURAL ORIGINS: Sometimes Greek Mythology, sometimes from Turkey, Asia


SUMMARY:When a mysterious stranger offers to reward Midas for a kindness, the king does nothesitate: He wishes that all he touches would turn to gold. To his delight, his wish is grantedand he soon sets about transforming his ordinary palace into a place of golden beauty. Butto his dismay, when he accidentally turns his beloved daughter into a golden statue, Midaslearns that what at first seems a blessing can also become a curse.

ADAPTATIONS:● A story with a message about greed, should be told with an even tone.● King’s voice should be bold and strong, but softer and sadder when he learns a

lesson the hard way by turning his daughter into gold.● Depending on age of audience I will have all turned back to normal, including

daughter. Original story has the king dying of starvation and the daughter foreverbeing gold. This ending would be too much for a younger audience.

SOURCES:Kraft, Charlotte. King Midas and the Golden Touch. New York: Harper Trophy, 2003. Print.

McKissack, Patricia and Frederick. King Midas and His Gold. Chicago: Children’s Press,1986. Print.

Demi. King Midas: The Golden Touch. New York: Margaret K. McEldberry Books, 2002.Print.

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TITLE: Tsunami!

CULTURAL ORIGINS: Japan, Asia


SUMMARY:Ojiisan, the oldest and wealthiest man in the village, doesn’t join the others at the riceceremony. Instead he watches from his balcony. He feels something is coming, somethinghe can’t describe. When he sees the monster wave pulling away from the beach, he knows.Tsunami! But the villagers below can’t see the danger. Ojiisan risks everything he has tosave them.

ADAPTATIONS:● Start the story with celebration and Japanese dancing music playing softly (as if in

the distance)● Tell the story with a sense of fear and worry after the earthquake and when the

Tsunami is noticed. Use urgency when Ojiisan is still not able to get the village tonotice the giant wave.

● The story should then be read with appreciation once villagers are saved.

SOURCES:Kajikawa, Kimiko. Tsunami!. New York: Philomel Books, 2009. Print.

“The Burning Fields (A Story of a Tsunami).” World Wide Folk Tales. 18 Dec. 2008. Web.5 Mar. 2013.

“The Burning of the Rice Fields.” Stories from Around the World: FCIT. Web. 5 Mar. 2013.

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TITLE: Rikki Tikki Tavi

CULTURAL ORIGINS: India, Asia


SUMMARY:The story follows the experiences of a young mongoose named RikkiTikkiTavi (for hischattering vocalizations) after his adoption into a British family residing in a bungalow inIndia, both as a pet and as protection against venomous snakes. After becomingacquainted with some of the other creatures inhabiting the garden, Rikki is warned of Nagand Nagaina, a pair of cobras angered by the family's presence on the territory which theyhad previously dominated. Nag enters the house's bathroom before dawn but is attackedby Rikki. The struggle that ensues awakens the human family and Nag is killed by thefather. A grieving Nagaina attempts revenge against Rikki's human family, cornering themas they take breakfast on an outdoor veranda. While Nagaina has been distracted by thewife of a bird named Darzee, Rikki has destroyed the cobra's unhatched brood of eggsexcept for one. He now carries it to where Nagaina is threatening to bite the child Teddywhile his parents watch helplessly. An enraged Nagaina recovers her egg but pursued byRikkiTikki to the underground cobra's nest where an unseen final battle takes place. Rikkiemerges triumphant from the hole declaring Nagaina dead. His future role is to protect thefamily by keeping the garden free from any future intrusion by snakes.

ADAPTATIONS:● A serious story that should be kept even in tone except for “scary” scenes with the

snake attacks.● Create voices for garden animals, including two snakes,birds, and Rikki.● Story is long so it may need to be adapted and shorten depending on audience age

and setting.

SOURCES:Kipling, Rudyard and Adapted by Pinkney, Jerry. RikkiTikkiTavi. New York: MorrowJunior Books, 1997. Print.

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TITLE: The Strange Visitor

CULTURAL ORIGINS: Scottish, Europe

AUDIENCE: 5 yrs and up for friendly version with happy ending, 10 yrs and up for scaryversion with death for ending, any setting

SUMMARY:A woman (or witch depending on tale) sits spinning one night, feeling lonely. Butwhen a pair of boots knocks on her door and walks over to her fire, she isdisappointed because, "feet are not much company." With the next "Knock!Knock!" a pair of teeny-weeny legs comes in to sit upon the feet, then some hairyknees, and so on, until a big kilt-wearing Scotsman is fully assembled in her livingroom. The suspense builds as she fearfully asks, "And what do all of you come herefor?" In the friendly version there is an offer of friendship and they are happy. Inthe scary version he has come to get her and harm her in some way.

ADAPTATIONS:● Could do audience participation: let the audience knock with you, call Come in and

then squeeeeak the door.● Depending on age group could be done friendly or scary in tone and ending.

Friendly version still has some scariness in the voice, but less so than scary version.● Create voices for woman and man at the end depending on version.

SOURCES:MacDonald, Margaret Read. “The Strange Visitor.” When the Lights Go Out Twenty ScaryTales to Tell. Spellbinders. Web. 7 Mar. 2013.

Wahl, Jan. Knock! Knock!. New York: Henry Holt and Company, 2004. Print.

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TITLE: Stone Soup

CULTURAL ORIGINS: Found in many countries with different names. Portugal with amonk as the traveller. In the French and Hungarian versions, the travellers are soldiers whoencounter several hardships. The story is most commonly known as Nail Soup inScandinavian and Northern European countries. In these versions, the main character istypically a tramp looking for food and lodgings and uses a nail as the soup starter. InEastern Europe the variation of the story is called Axe Soup.


SUMMARY:Two hungry travelers, denied food by the inhabitants of a mountain village, publicly declarethat they can make soup from a stone. Only they need a carrot... and a potato... and a fewmore ingredients to make it taste really good. Everyone in the town contributes something,pronounces the soup delicious and learns the magic behind it: sharing.

ADAPTATIONS:● A fun storing that teaches a lesson in sharing and being neighborly.● Could be done with audience participation. When its time to add another ingredient

to the soup as an audience member what vegetable to add next.

SOURCES:Forest, Heather. Stone Soup. Arkansas: August House Little Folk, 1998. Print.

Brown, Marcia. Stone Soup. New York: Aladdin Books, 1947. Print.

Mcgovern, Ann. Stone Soup. New York: Scholastic Books, 1968. Print.

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TITLE: Grandma Chickenlegs

CULTURAL ORIGINS: Russia, Europe


SUMMARY:A retelling of the Baba Yaga folktale. Tatia knows she should follow her dying mother'sadvice and stay away from Grandma Chickenlegs. But when her cruel stepmother ordersher to visit the old witch, Tatia must obey. Bravely, she sets out through the woods, with herdear doll, Drooga, as her only companion. Once inside the witch's cottagea rickety shackthat stands on chicken legsTatia is guarded by the witch's dog, cat, and a magic elm tree.Grandma Chickenlegs clearly has terrible plans for her. To escape the witch, Tatia must becourageous and clever, and she must rely on the kindness of friends.

ADAPTATIONS:● This version is a slightly humorous retelling of the scarier Baba Yaga folktale. Could

make the story scarier for an older audience.● The story starts sad because the girl loses her mother and is sent to live with a

wicked stepmother and stepsisters.● Create a witch voice for Grandma Chickenlegs, make it less scary and almost

humorous for a younger audience.

SOURCES:McCaughren, Geraldine. Grandma Chickenlegs. Minneapolis: Carolrhoda Books, 2000.Print.

Afanasyev, Alexander. Illus. by Bilipin, Ivan. Vasilisa the Beautiful and Baba Yaga. ThePlanet Publishing, 2012. Print.

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TITLE: Goldilocks and the Three Bears

CULTURAL ORIGINS: England, Europe

AUDIENCE: 37 yrs, any setting

SUMMARY:The classic tale of a girl who enters a cabin in the woods, tries the porridge, the chairs, andfinally the beds of three bears who are out for a walk. When the bears come home and findtheir stuff eaten and damaged, they wake the girl, who runs away at the sight of the bears.

ADAPTATIONS:● A fun tale that children like to repeat, especially the “it was too big (hot), too small

(cold), just right...” line.● Use a singsongy voice, especially with the youngest kids.● For older kids/audience make the story humorous by making Goldilocks a naughty

child and baby bear as an over dramatic toddler (like in James Marshall’s versionbelow)

● Do not make the bears too scary as they do not intend to harm Goldilocks, they arejust surprised to see her. They are friendly bears.

● Develop the story with details about the bears and Goldilocks appearance.● Will have to tell audience what porridge is, most will not know or have ever had it.

SOURCES:Brett, Jan. Goldilocks and the Three Bears. New York: G.P. Putnam’s Sons, 1987. Print.

Aylesworth, Jim. Goldilocks and the Three Bears. New York: Scholastic Press, 2003.Print.

Marshall, James. Goldilocks and the Three Bears. New York: Dial Books for YoungReaders, 1988. Print.

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TITLE: Rumpelstiltskin

CULTURAL ORIGINS: Germany, Europe


SUMMARY:A poor miller’s foolish boast, that his daughter Rose can spin straw into gold, threatens tobring ruin on him and his family. However, a mysterious little man offers to do the task inexchange for Rose’s firstborn child. He keeps his part of the bargain and in time, hereappears to claim his due. Poor Rose pleads with him and he grudgingly offers heranother chance. If she can guess his name then she may keep her child, if not the child willbe his. Rose in the end is able to beat Rumpelstiltskin at his own game.

ADAPTATIONS:● Rumplestiltskin is mysterious, devious, furious, and pathetic. Somehow

incorporate this into his voice.● A more serious story that should be told in an even tone.

SOURCES:Brothers Grimm and Sage, Alison. Rumpelstiltskin. New York: Dial Books for YoungReaders, 1990. Print.

Zelinsky, Paul O. Rumpelstiltskin. New York: Puffin Books, 1986. Print.

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TITLE: Sody Salleratus or Sody Sallyratus or Sody Saleratus

CULTURAL ORIGINS: Appalachian Mountain area, United States

* 1884 logo for the Arm & Hammer brand soda or saleratus. Saleratus appeared on the market in

1840, replacing pearlash as a baking ingredient to produce rising in dough. By the start of the

1860s baking soda in turn replaced it. For a short time some people called the new baking soda

‘saleratus.’ This story, then, probably dates from that period when both terms were used

simultaneously: “soda/saleratus.” (Appalachian History: Stories, quotes, and anecdotes

Website)


SUMMARY:When an old woman promises her family biscuits and sends her little boy down to the store

to fetch some baking soda, he is confronted by a hungry bear and vanishes, and as other

family members are sent out and disappear one by one, their pet squirrel decides to see

exactly what is going on.

ADAPTATIONS:● This is a favorite Folktale of mine that I like to read and tell to my students. It is a

humorous story so use a lively and fun voice.● Use voices for old woman, old man, little girl, and little boy.● Growl and use “bear” voice for bear.● Squeaky voice for squirrel.● Each character has a “sound”. Hoppity hop (boy), skippity skip (girl), crickity crack

(old man), limpity limp (old woman), chippity chip (squirrel).

SOURCES:“Sody Sallyratus.” Appalachian History: Stories, quotes, and anecdotes. Dave Tabler, 8 Aug

2012. Web. 19 Jan 2013.

Davis, Aubrey. Sody Salleratus. Toronto: Kids Can Press, 1996. Print.

Horovitz, Jed, dir. “Sody Sallyratus told by Richard Chase.” Internet Archive. Blue Heron,

1977. Web. 23 Jan 2013.

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TITLE: The Talking Eggs

CULTURAL ORIGINS: Creole, Louisiana, North America


SUMMARY:Blanche is kind, loving and patient, but her older sister Rose takes after their mean, sneakymother. One day Blanche befriends a hideous old "aunty" on a path near her home and isrewarded with magic eggs. Of course, Rose and the girls' mother are beside themselveswith envy, and Rose sets out to snag some eggs of her own. But greedy Rose's cruelnature gets her into trouble. She torments the old lady, grabs the wrong eggs and ends up"angry, sore and stung."

ADAPTATIONS:● A story that shows being greedy will get you nowhere.● Should be told with an even tone until the end when Rose is tricked by the old

woman.● Blanche should have a sweet voice, while Rose should sound like a brat and mean.● The old woman should have a sweet and kind voice.

SOURCES:San Souci, Robert D. and Illus. by Pinkney, Jerry. The Talking Eggs. New York: Dial Booksfor Young Readers, 1989. Print.

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TITLE: Napi and the BuffaloStealer

CULTURAL ORIGINS: Blackfoot Indian Tribe, North America


SUMMARY:When all of the buffalo disappear, the Blackfoot tribe is starving and dying. Napi, the greatcreator, comes to help the people. He turns into a dog and the chief’s son into a stick.Together they find the buffalo stealer’s home and become useful to his wife and son. Theydiscover the buffalo trapped in a cave and set them free. The buffalo stealer turns into agray bird and tries to get the buffalo back but Napi teaches him a lesson about havingmore than you need.

ADAPTATIONS:● A serious story about being greedy. Tell the story with an even tone and calm

manner.● Napi remains calm even in crisis, so convey his power but peacefulness in his

voice.

SOURCES:Hayes, Barbara and Ingpen, Robert. “Napi and the BuffaloStealer.” Fok Tales and Fablesof the World. New York: Portland House, 1987. 26465. Print.

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TITLE: Nanook, The White Bear

CULTURAL ORIGINS: Inuit, North America


SUMMARY:A mother, who is distraught by having twins (which was considered unlucky by the Inuitpeople), abandons the boys in the snow. They boys grow up because they are strong andbecome Nanook of the North (the white bear) and Nanook of the South (the brown bear).This story deals more with the white bear and how he helps a hunter who is trapped at seaby broken ice. Nanook brings him food and warms him. When the ice comes to shoreNanook gives the hunter a piece of lace made with his fur to show the other people thatNanook, the great white bear does exist.

ADAPTATIONS:● This is a somber story in the beginning especially since it deals with a mother

abandoning her twins. Tell the story with a quiet and even tone.● Keep a steady pace, it should not be told too quickly.● The story needs more detail added as it is short and choppy. Add more description

especially when Nanook is helping the hunter stay warm and getting food.

SOURCES:Hayes, Barbara and Ingpen, Robert. “Nanook, The White Bear.” Fok Tales and Fables ofthe World. New York: Portland House, 1987. 25152. Print.

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TITLE: The Tale of Tricky Fox

CULTURAL ORIGINS: Massachusetts, New England, United States


SUMMARY:Acting on a bet he makes with Brother Fox, Tricky Fox vows to bring home a pig ratherthan a chicken for supper. He begs his way into homes, carrying a bag. When he goes tosleep, he tells the host to keep an eye on his bag, but not to look inside it. Knowing humannature, he figures that the homeowner will take a peek. During the night, he disposes of thecontents of the bag and in the morning claims that something better was stolen. Of course,his hostess is embarrassed that this has happened in her own home and replaceswhatever the fox claimed was in his sack. He pulls this con on several unsuspecting womenuntil he meets up with a teacher, who sees through the ruse and puts her ferocious bulldogin his sack. What a surprise both Tricky and Brother Fox get when they open the bag athome.

ADAPTATIONS:● A lively “trickster” story that should be told with light humor.● Develop a “fox” voice that sounds confident and also “salesman” like. He should

sound sad and needy when he is begging.● The old women characters should sound motherly and helpful.

SOURCES:Aylesworth, Jim. The Tale of Tricky Fox. New York: Scholastic Press, 2001. Print.

Johnson, Clifton. “The Travels of a Fox.” Originally in For the Storyteller by Carolyn SherwinBailey, 1916. The Baldwin Project. Web. 5 Mar. 2013.

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TITLE: The Earth Giants

CULTURAL ORIGINS: Mayan people, Guatemala, Central America


SUMMARY:Two giants take over the land when Hurakan, the wind and main God, destroys all of manfor their evil ways. When the Gods decide to allow man to return to the land they must getrid of the giants. Two Gods come to earth and with the help of man trick the giants,eventually killing both of them.

ADAPTATIONS:● A serious story that involves the origin of the Mayan people.● The Gods should be told with a powerful voice and tone.● The version listed in the sources needs some embellishing. It ends abruptly and

requires more detail about the demise of the giants and the future of man.

SOURCES:Hayes, Barbara and Ingpen, Robert. “The Earth Giants.” Fok Tales and Fables of theWorld. New York: Portland House, 1987. 27779. Print.

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TITLE: The Squeaky Door

CULTURAL ORIGINS: Puerto Rican, Central America another version is found in Chili,South America


SUMMARY:When staying with his grandparents, a boy is frightened by the squeaky door to hisbedroom. To comfort him, Grandma puts various animals in bed with him, usually includinga cat, dog, a pig, and a horse. When the bed breaks, the boy gets to sleep with hisgrandparents. The next morning Grandma oils the door, repairs the bed, and the childsleeps soundly after that. In some versions this happens in different orders.

ADAPTATIONS:● Can change the animals to be any that fit the area you are telling the story.● Prolong the “squeeaaaak” to make it more scary for an older audience.● Create sounds for the animals you choose to use.● Could be done with audience participation by choosing one child per animal sound.

SOURCES:MacDonald, Margaret. The Squeaky Door. New York: Harper Collins Publishers, 2006.Print.

Mathews, Judith. Nathaniel Willy, Scared Silly. New York: Aladdin Publishing, 1999. Print.

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TITLE: Martina the Beautiful Cockroach

CULTURAL ORIGINS: Cuba, South America


SUMMARY:Martina the beautiful cockroach doesn t know coffee beans about love and marriage. Thatis where her Cuban family comes in. While some of the Cucarachas offer her gifts to makeher more attractive, only Abuela, her grandmother, gives her something really useful: unconsejo increíble, some shocking advice. You want me to do what? Martina gasps.At first, Martina is skeptical of her Abuela’s unorthodox suggestion, but when suitor aftersuitor fails the Coffee Test, she wonders if a little green cockroach can ever find true love.Soon, only the gardener Pérez, a tiny brown mouse, is left. But what will happen whenMartina offers him café cubano?

ADAPTATIONS:● A sweet story that should have a witty tone.● Lots of voices to develop, also many Spanish words to learn.● Martina is somewhat vain in the beginning so her voice should reflect this. It

becomes softer and less confident when her grandmother is around.

SOURCES:Deedy, Carmen Agra. Martina the Beautiful Cockroach. Atlanta: Peachtree, 2007. Print.

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TITLE: Mariana and the Merchild

CULTURAL ORIGINS: Chile, South American


SUMMARY:Old Mariana lives alone in her ramshackle hut on the beach. During the day, longing forcompanionship, she tries to befriend the village children who tease her behind her back. Atnight, she hides in her hut, afraid of the seawolves that come out to hunt when storms setin. One morning after a vicious storm, Mariana finds a large crab, which splits in two toreveal a Merbaby. Mariana wants to keep the child, and her wish is granted when theinfant's mother, a Sea Spirit, asks the old woman to look after her "until the seas lie calm"and it is safe to take her home. As they watch Mariana and her charge laugh and play, thevillage children overcome their fears, and when the Merchild finally leaves, they comfort thegrieving Mariana.

ADAPTATIONS:● A sweet, loving story that should be told with a caring, calm voice.● Should be told at a slower pace, do not rush the details.● Spend more time describing the setting and characters, especially the mermaid

and merchild, since the pictures will not be there.● Use a sing song voice for the mermaid.● Use a motherly voice for Mariana.● The story is meaningful because it deals with the longing for a child, which I felt for

many years.

SOURCES:Pitcher, Caroline, and Morris, Jackie. Mariana and the Merchild. Grand Rapids:Eerdmans Publishing Co., 2000. Print.

STORYTELLING IDEAS

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From the Future File of Amy Williams

TITLE: Armadillo’s Song

CULTURAL ORIGINS: Bolivia, South America


SUMMARY:An armadillo wants to sing like the birds and insects. He finds a wizard to grant his wishbut he has to pay for it with his life. The wizard kills the armadillo and makes an instrumentfrom his shell. He then gives the instrument to a musician who makes the armadillo “sing”,thus granting the wish.

ADAPTATIONS:● A more serious tale that should be told in an even tone.● Create a voice for the armadillo that is forlorn and desperate.● The wizard is not evil just because he kills the armadillo, he is honest with the

armadillo from the beginning that it will require a sacrifice.● Could be used to discuss sacrifices with an older audience.

SOURCES:Schlosser, S. E. “Armadillo’s Song.” American Folklore. Web. 4 Mar. 2013.

STORYTELLING IDEAS

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From the Future File of Amy Williams

TITLE: What A Pig!

CULTURAL ORIGINS: Unknown


SUMMARY:In a small town there is a river that divides it and there is only one bridge to cross. A hungry

pig blocks people from crossing the bridge and eats all their food. Finally a little girl

comes up with an idea to get rid of the pig.

ADAPTATIONS:● This is a very funny story with a silly pig.● Use a “dopey” pig voice and have him looking up at the sky during his main line.

Then quickly look at audience during “SNACK TIME!”● Have old woman with fruits and veggies first, then have the baker, then the candy

maker. Have each of them carrying food across for some reason (farmers market,lunch with family, date with girlfriend, etc)

SOURCES:I was unable to find this title in any other place or in any other form“What A Pig.” Story Bee Website. www.storybee.org Told by Padriac Keohane. Web. 27Jan 2013.

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Transcript of Future File - Weeblystorytellingideas.weebly.com/.../0/4/14047977/futurefile.pdf · 2018-09-07 ·...