Zipes, Jack. "The Humiliated Princess." Beautiful Angola: The Great Treasury of Sicilian Folk and Fairy Tales. New York: Routledge, 2004. Print
Once there was a king that had a very beautiful daughter, but she was moody and proud. The king sent for many suitors and princess was never satisfied with any of them. She would laugh at them and the suitors would leave ashamed. Even with the king's reproach the princess did not listen and continued her behavior. Finally, no more suitors came to the castle. The king decided to send the princess' picture to foreign countries where she was not known. The princess agreed to meet one young king. However when he arrived she humiliated him as she had done with the others. The young king went back to his country and the princess was banished from the castle by her father. She meets the young king again, who has never forgotten about her, and he is posing as a pedlar. He asks to marry her takes her through a series of humiliating tasks before revealing his identity.
Cultural Origin:
This tale has Sicilian origins, and was first published in German.
Audience:
I think this story would be enjoyed most by upper elementary school and older students and adults in school and public library settings.
Adaptations:
This is a fun story that works well with the details that presented in the current story. I would not make any changes when telling this story.
Stories to Tell
This blog was started as part of a Storytelling class at the University of Illinois at Urbana-Champaign. It is a file of stories read and that could be told in a variety of settings such a schools, libraries, festivals, and community events. The stories reflect a variety of cultures and can be enjoyed by both youth and adults.
Thursday, March 31, 2011
Monday, March 28, 2011
How the Alligator Got His Brown Scaly Skin
Bear, Joyce and Megan Baehr. "How the Alligator Got His Brown Scaly Skin." Trickster Native American Tales: A Graphic Collection. Golden, CO: Fulcrum Books, 2010. Print.
Long, long ago alligator has smooth bright yellow skin. Alligator was selfish and would claim all of the water for himself. Any time an animal came for a drink Alligator would scare it off. When Alligator was not in the water he was basking on the highest hill where he had watch of everything below and above him, scaring away animals in the sky and at the water's edge. One day all of the other animals got together to figure out what to do about Alligator scaring them off. Rabbit decided that he would teach Alligator a lesson. The next day Rabbit walks to the water's edge and tells Alligator Mr. Trouble is coming to take care of him. Rabbit starts a fire that surrounds Alligator and burns his smooth skin. Today, because Alligator is ashamed of his scaly skin is why he spends most of his time in the water. The animals still remind Alligator that if he continues to scare them when they are drinking water from the river, they will call Mr. Trouble.
Cultural Origins:
No origins for this tale were provided although the book does reference North American Indian tales, just not a specific nation for this tale. One of the author (Bear) has managed managed the Cultural Preservation Department for the Creek nation.
Audience:
This is a tale that could be shared with audience of various ages in settings such as libraries, schools, and zoos.
Adaptation:
I would not make any adaptations to this tale. As in many tales and cultures the rabbit is the trickster and it remains appropriate in this one also.
Long, long ago alligator has smooth bright yellow skin. Alligator was selfish and would claim all of the water for himself. Any time an animal came for a drink Alligator would scare it off. When Alligator was not in the water he was basking on the highest hill where he had watch of everything below and above him, scaring away animals in the sky and at the water's edge. One day all of the other animals got together to figure out what to do about Alligator scaring them off. Rabbit decided that he would teach Alligator a lesson. The next day Rabbit walks to the water's edge and tells Alligator Mr. Trouble is coming to take care of him. Rabbit starts a fire that surrounds Alligator and burns his smooth skin. Today, because Alligator is ashamed of his scaly skin is why he spends most of his time in the water. The animals still remind Alligator that if he continues to scare them when they are drinking water from the river, they will call Mr. Trouble.
Cultural Origins:
No origins for this tale were provided although the book does reference North American Indian tales, just not a specific nation for this tale. One of the author (Bear) has managed managed the Cultural Preservation Department for the Creek nation.
Audience:
This is a tale that could be shared with audience of various ages in settings such as libraries, schools, and zoos.
Adaptation:
I would not make any adaptations to this tale. As in many tales and cultures the rabbit is the trickster and it remains appropriate in this one also.
Saturday, March 26, 2011
Tailypo
Wahl, Jan. Tailypo. New York: Henry Holt and Company, 1991. Print.
Way down in the big woods of Tennessee an old man lived all by himself in a one-room cabin. One night as the man was finishing his dinner he noticed a creature crawling up the wall. With one lick the man cut of the creature's tail, cooked it up and ate it. No sooner did the man try to go to sleep when he heard something crawling up the side of the cabin, calling for his "tailypo". He called his dogs and they chased the Creature off into the woods. The man tried to sleep again and awoke when he heard the scratching, and the Creature calling for his "tailypo. Again the dogs chased the Creature off into the swamp. Close to morning the man heard something asking for the tailypo. This time when the man called the dogs they did not come. Once again the man went back to sleep. The next time he awoke because there was something in his room, climbing up the bed, asking for "my tailypo." The man insist that he does not have the tailypo, but the Creature does not believe him and gobbles the man up.
Cultural Origins:
There is nothing specific from the author regarding origin. The reviews included in the book does mention that this is an African American tale.
Audience:
I think this tale would be most appropriate for grades 4 and up because it depending on the tone during the telling it could be scary for some youth. I think middle and high school age youth would enjoy this in a libray or classroom setting. Adults would also be appropriate audience for this story.
Adaptation:
The most important adaptation would be voice to capture the scariness of the story. It would also add to the telling if the story could be told in a room with dimmed lights for maximum effect.
Way down in the big woods of Tennessee an old man lived all by himself in a one-room cabin. One night as the man was finishing his dinner he noticed a creature crawling up the wall. With one lick the man cut of the creature's tail, cooked it up and ate it. No sooner did the man try to go to sleep when he heard something crawling up the side of the cabin, calling for his "tailypo". He called his dogs and they chased the Creature off into the woods. The man tried to sleep again and awoke when he heard the scratching, and the Creature calling for his "tailypo. Again the dogs chased the Creature off into the swamp. Close to morning the man heard something asking for the tailypo. This time when the man called the dogs they did not come. Once again the man went back to sleep. The next time he awoke because there was something in his room, climbing up the bed, asking for "my tailypo." The man insist that he does not have the tailypo, but the Creature does not believe him and gobbles the man up.
Cultural Origins:
There is nothing specific from the author regarding origin. The reviews included in the book does mention that this is an African American tale.
Audience:
I think this tale would be most appropriate for grades 4 and up because it depending on the tone during the telling it could be scary for some youth. I think middle and high school age youth would enjoy this in a libray or classroom setting. Adults would also be appropriate audience for this story.
Adaptation:
The most important adaptation would be voice to capture the scariness of the story. It would also add to the telling if the story could be told in a room with dimmed lights for maximum effect.
Thursday, March 24, 2011
A Bad Way to Treat Friends
Smith, Alexander McCall. "A Bad Way to Treat Friends". The Girl Who Married a Lion and Other Tales from Africa. New York: Pantheon Books, 2004. Print.
Leopard, Goat, Guinea Fowl, and Wild Cat were all good friends. They lived together where there was good water and cool places to sleep.
Goat had some fine children, that were strong and heathly. They could eat the leaves from the shrubs that none of the other animals could reach. They were clever and all of the other children were jealous. Leopard's children were not strong, and could not run as fast as leopard children normally run, and their coats were dull and matted.
Leopard decides to trick Goat into going away to buy a dress for a party. Goat is happy to help and goes away to purchase the dress. While she is away, Leopard captures Goat's children ties them up in bundles and prepares to take them to the party to be a part of the meal. Meanwhile, Guinea Fowl and Wild Cat is watching all of this happening.
While Leopard tries on her dress, Guinea Fowl and Wild Cat release the goat children, telling them to run off and hide. They replace the bundles with Leopard's children. Leopard takes the bundles to the party and places them in the pot. When Leopard realizes she has cooked her own children, she is angry and goes to look for Goat and her children. But they had already left, and this is why we see leopards searching for goats.
Cultural Origin:
I am unaware of the origin of this particular story. In the introduction the author shares with the reader that the stories in this book were collected from tellers in Zimbabwe and Botswana.
Audience:
I would feel comfortable sharing this story with almost all ages, youth in grades 3 to adults in both school and public libraries.
Adaptations:
I think the most important adaptation for me in telling this story would be to convey the intense hatred and jealously that Leopard holds for Goat and her children. This would be done with the tone of my voice, through a combination of voice dripping with sarcasm and facial expressions that let the audience know the contempt that Leopard has.
I would not change neither the animals nor the setting because I believe original story provides accurate depiction of the culture from which this story comes.
Leopard, Goat, Guinea Fowl, and Wild Cat were all good friends. They lived together where there was good water and cool places to sleep.
Goat had some fine children, that were strong and heathly. They could eat the leaves from the shrubs that none of the other animals could reach. They were clever and all of the other children were jealous. Leopard's children were not strong, and could not run as fast as leopard children normally run, and their coats were dull and matted.
Leopard decides to trick Goat into going away to buy a dress for a party. Goat is happy to help and goes away to purchase the dress. While she is away, Leopard captures Goat's children ties them up in bundles and prepares to take them to the party to be a part of the meal. Meanwhile, Guinea Fowl and Wild Cat is watching all of this happening.
While Leopard tries on her dress, Guinea Fowl and Wild Cat release the goat children, telling them to run off and hide. They replace the bundles with Leopard's children. Leopard takes the bundles to the party and places them in the pot. When Leopard realizes she has cooked her own children, she is angry and goes to look for Goat and her children. But they had already left, and this is why we see leopards searching for goats.
Cultural Origin:
I am unaware of the origin of this particular story. In the introduction the author shares with the reader that the stories in this book were collected from tellers in Zimbabwe and Botswana.
Audience:
I would feel comfortable sharing this story with almost all ages, youth in grades 3 to adults in both school and public libraries.
Adaptations:
I think the most important adaptation for me in telling this story would be to convey the intense hatred and jealously that Leopard holds for Goat and her children. This would be done with the tone of my voice, through a combination of voice dripping with sarcasm and facial expressions that let the audience know the contempt that Leopard has.
I would not change neither the animals nor the setting because I believe original story provides accurate depiction of the culture from which this story comes.
Tuesday, March 22, 2011
The Gingerbread Man
Kimmel, Eric. The Gingerbread Man. New York: Holiday House, 1993. Print.
Once upon a time an old man and an old woman decided to make some gingerbread. They cut the dough into the shape of a man and put it into the oven to bake. He baked and once he cooled the man and woman decorated him. As soon as the last peppermint button was placed on the gingerbread he leaped off the table and ran out the door. The man and woman called after, and chased, the gingerbread man. The gingerbread man ran past the pig, the dog, a horse and a cow, who also followed in the chase. The gingerbread man came to a river, stopped and wondered what to do. Along came a fox who offered to help the gingerbread man cross the river. By and by, the fox suggested to the gingerbread to climb on his tail, then his back, then his head, then his snout, and snapped the gingerbread man up in one bite.
Cultural Origin:
According to the SurLaLune Fairy Tale site, the Gingerbread Man first appeared in St. Nicholas magazine in 1875. A similar tale titled Johnny Cakes was published by Joseph Jacobs in 1980. The tale continues to be popular and versions have been cited from Ireland, Scandanavia, Germany, Russian and Slovenia.
Audience:
I think this story would be enjoyed most by preschool and elementary age youth in school and library settings.
Adaptation:
The animals that are chasing after the gingerbread could be adapted. I would also encourage audience participation during the gingerbread man's refrain.
Once upon a time an old man and an old woman decided to make some gingerbread. They cut the dough into the shape of a man and put it into the oven to bake. He baked and once he cooled the man and woman decorated him. As soon as the last peppermint button was placed on the gingerbread he leaped off the table and ran out the door. The man and woman called after, and chased, the gingerbread man. The gingerbread man ran past the pig, the dog, a horse and a cow, who also followed in the chase. The gingerbread man came to a river, stopped and wondered what to do. Along came a fox who offered to help the gingerbread man cross the river. By and by, the fox suggested to the gingerbread to climb on his tail, then his back, then his head, then his snout, and snapped the gingerbread man up in one bite.
Cultural Origin:
According to the SurLaLune Fairy Tale site, the Gingerbread Man first appeared in St. Nicholas magazine in 1875. A similar tale titled Johnny Cakes was published by Joseph Jacobs in 1980. The tale continues to be popular and versions have been cited from Ireland, Scandanavia, Germany, Russian and Slovenia.
Audience:
I think this story would be enjoyed most by preschool and elementary age youth in school and library settings.
Adaptation:
The animals that are chasing after the gingerbread could be adapted. I would also encourage audience participation during the gingerbread man's refrain.
Anansi and the Talking Melon
Kimmel, Eric. Anansi and the Talking Melon. New York: Holiday House, 1994. Print.
One morning Anansi is sitting high in a thorn tree eyeing the melons in Elephant's patch and wishing that he could have a melon for his own. Anansi loves melons, but is much too lazy to grow his own. He bores his way into a melon, eats until he is full, but then is unable to exit because he has grown bigger. Since he has to stay inside the melon until he is smaller Anansi decides to play a trick on Elephant. He speaks to Elephant and Elephant thinks the melon is actually speaks. Elephant is on his way to the King's to show him this talking melon, and along the way he meets several other animals who hears the talking melon and also follows Elephant to the King's. Once at the King's, the melon is commanded to speak, but stays silent until finally the King grows angry and throws the melon. Anansi is able to escape the melon when it crashes to the ground and breaks. He climbs into a different fruit to again trick Elephant.
Cultural Origins:
According to the note in this book, the Anansi tales are originally from West Africa and also familiar in Caribbean cultures.
Audience:
This is a story that can be enjoyed by a variety of age groups, from school-age youth to adults and told in both library and school settings. I also think it would be a great story to tell at a farmer's market.
Adaptations:
An appropriate tone of voice is a must with this story. There are parts that a humorous, can appear serious and the teller must also get the anger of the King captured while telling this story. I would use a melon as a prop when telling this story.
One morning Anansi is sitting high in a thorn tree eyeing the melons in Elephant's patch and wishing that he could have a melon for his own. Anansi loves melons, but is much too lazy to grow his own. He bores his way into a melon, eats until he is full, but then is unable to exit because he has grown bigger. Since he has to stay inside the melon until he is smaller Anansi decides to play a trick on Elephant. He speaks to Elephant and Elephant thinks the melon is actually speaks. Elephant is on his way to the King's to show him this talking melon, and along the way he meets several other animals who hears the talking melon and also follows Elephant to the King's. Once at the King's, the melon is commanded to speak, but stays silent until finally the King grows angry and throws the melon. Anansi is able to escape the melon when it crashes to the ground and breaks. He climbs into a different fruit to again trick Elephant.
Cultural Origins:
According to the note in this book, the Anansi tales are originally from West Africa and also familiar in Caribbean cultures.
Audience:
This is a story that can be enjoyed by a variety of age groups, from school-age youth to adults and told in both library and school settings. I also think it would be a great story to tell at a farmer's market.
Adaptations:
An appropriate tone of voice is a must with this story. There are parts that a humorous, can appear serious and the teller must also get the anger of the King captured while telling this story. I would use a melon as a prop when telling this story.
Monday, March 21, 2011
Henny Penny
Galdone, Paul. Henny Penny. New York: Clarion Books, 1968. Print.
One day when Henny Penny is out scratching among the leaves an acorn falls on her head. Terrified, she runs off to tell the King. On the way Henny Penny meets Cocky Locky, Ducky Lucky, Goosey Loosey, Turkey Lurkey. Finally they come upon Foxy Loxy, who tells them that they are going the wrong way to the King's. They follow Foxy Loxy right into his cave and are never heard from again, and the King is never told that the sky is falling. The Foxy Loxy family remembers the delicious feast they had that day.
Cultural Origins:
The Gingerbread Man is referenced in Jacobs, Joseph. English Fairy Tales. London: David Nutt, 1890. Print. There does not seem to be any specific origins from the search conducted at SurLaLune.
Audience:
I think this story would be enjoyed most by elementary school-age youth in both library and school settings.
Adaptation:
One adaptation I would include is setting a more visual scene for listeners of the surrounding in which the birds are traveling, through the woods, over hills, etc.
One day when Henny Penny is out scratching among the leaves an acorn falls on her head. Terrified, she runs off to tell the King. On the way Henny Penny meets Cocky Locky, Ducky Lucky, Goosey Loosey, Turkey Lurkey. Finally they come upon Foxy Loxy, who tells them that they are going the wrong way to the King's. They follow Foxy Loxy right into his cave and are never heard from again, and the King is never told that the sky is falling. The Foxy Loxy family remembers the delicious feast they had that day.
Cultural Origins:
The Gingerbread Man is referenced in Jacobs, Joseph. English Fairy Tales. London: David Nutt, 1890. Print. There does not seem to be any specific origins from the search conducted at SurLaLune.
Audience:
I think this story would be enjoyed most by elementary school-age youth in both library and school settings.
Adaptation:
One adaptation I would include is setting a more visual scene for listeners of the surrounding in which the birds are traveling, through the woods, over hills, etc.
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