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.
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.
The Goat From the Hills and Mountains
Campoy, F. Isabel and Alma Flor Ada. "The Goat From the Hills and Mountains." Tales Our Abuelitas Told: A Hispanic Folktale Collection. New York: Antheneum Books for Young Readers, 2006. Print.
There lived a woman with her husband and a daughter. One morning the woman sent the daughter to the garden for some vegetables for dinner. When she arrived to the garden there was a goat standing in the middle eating all the vegetables. The girl tries to scare the goat away, but the goat is not moved and threatens to eat the girl for dessert. The mother returns and the goats threatens to eat her. Next the father, then a solider. Both are also threatened. Finally an ant comes along and agrees to get the goat out of the garden for two grains of wheat. The ant climbs up the goat's leg, bites the goat, and the goat runs away. Because of the heavy load for the two grains of wheat, the girl helps the ant carry one of the grains to the anthill.
Cultural Origins:
This is a popular story in Spain and throughout Latin America.
Audience:
This is a story that can be enjoyed by an audience of wide age ranges in library and school settings. I would encourage the audience to participate in the refrain from the goat, "I'm the goat from the hills and mountains, and I love to eat_______."
Adaptations:
I like the story as it is and would not make many adaptations. The one adaptation that I may choose is gift that the ant chooses, possibly something other than wheat. Another adaptation may be to incorporate a neighbor in place of the soldier. However I think the story works well as is.
There lived a woman with her husband and a daughter. One morning the woman sent the daughter to the garden for some vegetables for dinner. When she arrived to the garden there was a goat standing in the middle eating all the vegetables. The girl tries to scare the goat away, but the goat is not moved and threatens to eat the girl for dessert. The mother returns and the goats threatens to eat her. Next the father, then a solider. Both are also threatened. Finally an ant comes along and agrees to get the goat out of the garden for two grains of wheat. The ant climbs up the goat's leg, bites the goat, and the goat runs away. Because of the heavy load for the two grains of wheat, the girl helps the ant carry one of the grains to the anthill.
Cultural Origins:
This is a popular story in Spain and throughout Latin America.
Audience:
This is a story that can be enjoyed by an audience of wide age ranges in library and school settings. I would encourage the audience to participate in the refrain from the goat, "I'm the goat from the hills and mountains, and I love to eat_______."
Adaptations:
I like the story as it is and would not make many adaptations. The one adaptation that I may choose is gift that the ant chooses, possibly something other than wheat. Another adaptation may be to incorporate a neighbor in place of the soldier. However I think the story works well as is.
Friday, March 18, 2011
Little Red Riding Hood
Kurtz, John: Little Red Riding Hood. New York: Jump at the Sun/Hyperion Books for Children, 2004. Print.
Once there was little girl named Little Red Riding Hood (LRRH), who was given the bright red cape by her grandma so her mother could keep track of her even from far away. LRRH was given a task by her mother, to take a basket of goodies to her grandmother. Mother told the girl to go directly to Grandma's house and not speak with strangers. Little Red did just as her mother told her. She did not stop to pick flowers or play with butterflies or listen to the birds. When the Wolf appeared Little Red did not stop but shared that she was going to her grandmother's and the wolf being the sly and clever creature he is went ahead to Grandma's house. Once Grandma heard the wolf's voice, pretending he was Little Red she knew she was in danger and ran out the back door. Finally Little Red appeared and after asking several questions of Wolf, Little Red realizes that she is in danger. Fortunately the woodcutter, Grandma, Little Red Riding Hood's mother and some townsfolk appear and saves Little Red. Little Red Riding Hood always wore her red cape everywhere she went.
Cultural Origins:
The author does not include any notes referencing the culture. The characters in the book from which this story was taken are all African American. There are a variety of hair styles worn by the characters that are representative of African American cultures. Styles such as braids, afro, dreadlocks and wavy looks. Also the ending, with the community coming together to save Little Red Riding Hood, is indicative of the sense of community known in many African American communities.
Audience:
This particular version is a story that can be shared with all ages. It is a great introduction to fairy tales for preschool age children. Most school-age youth will be familiar with the tale and will delight in hearing again. This story is a classic for most adults and I believe will be appreciated. The story could be told in almost any setting including public and school libraries. I think it would also be appropriate in academic settings - classrooms, residence halls, etc.
Adaptation:
Any adaptation to Little Red Riding Hood would greatly depend on the audience. A tame version would be shared with youth. In a telling to youth, I might also change what it is that Little Red is taking to her grandmother. It may be cake and tea instead of bread and wine.
With an adult audience I may try one of the more graphic versions. I think most people are very used to the tame version and may not be familiar with some of the original versions. Depending on the audience I think a different telling would be an eye-opening experience for many adults.
Once there was little girl named Little Red Riding Hood (LRRH), who was given the bright red cape by her grandma so her mother could keep track of her even from far away. LRRH was given a task by her mother, to take a basket of goodies to her grandmother. Mother told the girl to go directly to Grandma's house and not speak with strangers. Little Red did just as her mother told her. She did not stop to pick flowers or play with butterflies or listen to the birds. When the Wolf appeared Little Red did not stop but shared that she was going to her grandmother's and the wolf being the sly and clever creature he is went ahead to Grandma's house. Once Grandma heard the wolf's voice, pretending he was Little Red she knew she was in danger and ran out the back door. Finally Little Red appeared and after asking several questions of Wolf, Little Red realizes that she is in danger. Fortunately the woodcutter, Grandma, Little Red Riding Hood's mother and some townsfolk appear and saves Little Red. Little Red Riding Hood always wore her red cape everywhere she went.
Cultural Origins:
The author does not include any notes referencing the culture. The characters in the book from which this story was taken are all African American. There are a variety of hair styles worn by the characters that are representative of African American cultures. Styles such as braids, afro, dreadlocks and wavy looks. Also the ending, with the community coming together to save Little Red Riding Hood, is indicative of the sense of community known in many African American communities.
Audience:
This particular version is a story that can be shared with all ages. It is a great introduction to fairy tales for preschool age children. Most school-age youth will be familiar with the tale and will delight in hearing again. This story is a classic for most adults and I believe will be appreciated. The story could be told in almost any setting including public and school libraries. I think it would also be appropriate in academic settings - classrooms, residence halls, etc.
Adaptation:
Any adaptation to Little Red Riding Hood would greatly depend on the audience. A tame version would be shared with youth. In a telling to youth, I might also change what it is that Little Red is taking to her grandmother. It may be cake and tea instead of bread and wine.
With an adult audience I may try one of the more graphic versions. I think most people are very used to the tame version and may not be familiar with some of the original versions. Depending on the audience I think a different telling would be an eye-opening experience for many adults.
Tuesday, March 15, 2011
Goldilocks and the Three Bears
Spirin, Gennady. Goldilocks and the Three Bears. Tarrytown: Marshall Cavendish Corporation, 2009. Print.
Once upon a time, deep in the woods in a cottage lived three bears, Papa Bear, Mama Bear and Baby Bear. One day the bears went out as they waited for their porridge to cool down. As they were gone a young girl came by the cottage and entered the house. Once she entered and smelled the delicious porridge she realized that she was hungry and tried each of the bowls of porridge. Then Goldilocks decided to read and in trying to find a comfortable chair she broke Baby Bear's chair. Exhausted, Goldilocks went to lie down and fell asleep. Upon returning to their cottage the bears noticed the door wide open and the mess that Goldilocks had left. They searched the house and found her asleep in Baby Bear's bed. Goldilocks awakes to find the three bears looking at her and runs off.
Cultural Origins:
Most information read seems to point to English origins for this tale. It has been very interesting to read how original and earlier versions had an old woman as the main character, and it was around 1850 that a young girl became the main character.
Audience:
I believe youth and family audiences would enjoy this story most. Adults with an interest in children's literature may also be a chose audience. Appropriate settings would include schools, libraries and possibly the zoo.
Adaptations:
The adaptation to this story would depend on the audience. The ending may be one of Goldilocks helping the 3 bears if it is a group of youth that often leaving the library or classroom without cleaning up after themselves. The end may have Goldilocks running off and telling her mother or some friends about her "adventure". Of course there could be adaptations in the food that are presented in the story. Maybe a friend for Goldilocks could be added into the story to emphasize the buddy system. Knowing the audience ahead of time or being familiar enough with this story to adapt at a moment's notice is key to be successful with this story.
Once upon a time, deep in the woods in a cottage lived three bears, Papa Bear, Mama Bear and Baby Bear. One day the bears went out as they waited for their porridge to cool down. As they were gone a young girl came by the cottage and entered the house. Once she entered and smelled the delicious porridge she realized that she was hungry and tried each of the bowls of porridge. Then Goldilocks decided to read and in trying to find a comfortable chair she broke Baby Bear's chair. Exhausted, Goldilocks went to lie down and fell asleep. Upon returning to their cottage the bears noticed the door wide open and the mess that Goldilocks had left. They searched the house and found her asleep in Baby Bear's bed. Goldilocks awakes to find the three bears looking at her and runs off.
Cultural Origins:
Most information read seems to point to English origins for this tale. It has been very interesting to read how original and earlier versions had an old woman as the main character, and it was around 1850 that a young girl became the main character.
Audience:
I believe youth and family audiences would enjoy this story most. Adults with an interest in children's literature may also be a chose audience. Appropriate settings would include schools, libraries and possibly the zoo.
Adaptations:
The adaptation to this story would depend on the audience. The ending may be one of Goldilocks helping the 3 bears if it is a group of youth that often leaving the library or classroom without cleaning up after themselves. The end may have Goldilocks running off and telling her mother or some friends about her "adventure". Of course there could be adaptations in the food that are presented in the story. Maybe a friend for Goldilocks could be added into the story to emphasize the buddy system. Knowing the audience ahead of time or being familiar enough with this story to adapt at a moment's notice is key to be successful with this story.
Mufaro's Beautiful Daughters
Steptoe, John. Mufaro's Beautiful Daughters: An African Tale. New York: Lothrop, Lee & Shepard Books, 1987. Print.
A man named Mufaro lived in a village with his two beautiful daughters, Manyara and Nyasha. Manyara was bad-tempered and dreamed of becoming the queen and having her sister as a servant. Nyasha went about her chores, ignoring her sister's words and maintained a happy spirit. She happens upon a snake that she places into the garden so that it is not harmed. One morning the family receives an invitation to meet the King to possibly become Queen. Manyara sneaks out during the night to try to get to the kingdom before her sister. Along the way she meets a hungry boy and an old woman both of whom she ignores because she is mean and in her haste to get to the kingdom. The next day Nyasha and her father sets out for the kingdom. Nyasha meets the same hungry boy and provides him with food and heeds the warning from the old woman. She arrives in the kingdom, greeted by her terrified sister who has claimed to see a five-headed snake. Upon entering the King's chamber, Nyasha is greeted by the snake she saved in the garden. The snake becomes the King and marries Nyasha.
Cultural Origins:
There are no specific cultural origins provided. However the author does mention that illustrations are based upon ruins in Zimbabwe and gives thanks to staff of the Zimbabwe Mission. The book is dedicated to the children of South Africa.
Audience:
This story is appropriate for all ages and could be told in school, library and museum settings.
Adaptation:
The adaptation I would make when telling this story is to include the meaning of the characters name either at the beginning or when a character is initially introduced.
A man named Mufaro lived in a village with his two beautiful daughters, Manyara and Nyasha. Manyara was bad-tempered and dreamed of becoming the queen and having her sister as a servant. Nyasha went about her chores, ignoring her sister's words and maintained a happy spirit. She happens upon a snake that she places into the garden so that it is not harmed. One morning the family receives an invitation to meet the King to possibly become Queen. Manyara sneaks out during the night to try to get to the kingdom before her sister. Along the way she meets a hungry boy and an old woman both of whom she ignores because she is mean and in her haste to get to the kingdom. The next day Nyasha and her father sets out for the kingdom. Nyasha meets the same hungry boy and provides him with food and heeds the warning from the old woman. She arrives in the kingdom, greeted by her terrified sister who has claimed to see a five-headed snake. Upon entering the King's chamber, Nyasha is greeted by the snake she saved in the garden. The snake becomes the King and marries Nyasha.
Cultural Origins:
There are no specific cultural origins provided. However the author does mention that illustrations are based upon ruins in Zimbabwe and gives thanks to staff of the Zimbabwe Mission. The book is dedicated to the children of South Africa.
Audience:
This story is appropriate for all ages and could be told in school, library and museum settings.
Adaptation:
The adaptation I would make when telling this story is to include the meaning of the characters name either at the beginning or when a character is initially introduced.
Saturday, March 12, 2011
The Little Red Hen
Pinkney, Jerry. The Little Red Hen. New York: Dial Books for Young Readers, 2006. Print.
Little Red Hen (LRH) and her chicks are strolling the farm one day and come across some wheat seeds. LRH is excited about her discovery. Later when she sees her neighbors Dog, Rat, Goat, and Pig, she is sure they will be excited also. LRH asks her friends to help her in various stages of taking care of the seeds - planting, watering, harvesting, take the wheat to the mill, baking and eating the final product. Her friends have no interest in assisting with all the hard work, but are more than happy to join in the eating. Little Red Hen chooses not to share with her neighbors since they did not help with planting, threshing, taking the grain to the mill nor baking.
Cultural Origins:
No particular origins were located for this version.
Audience:
This story is most appropriate for youth and family audiences. I think it would also be enjoyed by adults with an interest in children's literature and may be enjoyed in library and school settings.
Adaptation:
Adaptations that could be made to the type of seeds that Little Red Hen finds, possibly changing the end product. Also the animal friends of Little Red Hen could be adapted depending on the audience interest. The teller could ask the audience to pick three animals to be included into the story or the teller could choose animals based on interest, ability to do voice adaptations, etc. Another adaptation that may occur would be the ending, and whether the little red hen chooses to share with the other animals at the end of the story.
Little Red Hen (LRH) and her chicks are strolling the farm one day and come across some wheat seeds. LRH is excited about her discovery. Later when she sees her neighbors Dog, Rat, Goat, and Pig, she is sure they will be excited also. LRH asks her friends to help her in various stages of taking care of the seeds - planting, watering, harvesting, take the wheat to the mill, baking and eating the final product. Her friends have no interest in assisting with all the hard work, but are more than happy to join in the eating. Little Red Hen chooses not to share with her neighbors since they did not help with planting, threshing, taking the grain to the mill nor baking.
Cultural Origins:
No particular origins were located for this version.
Audience:
This story is most appropriate for youth and family audiences. I think it would also be enjoyed by adults with an interest in children's literature and may be enjoyed in library and school settings.
Adaptation:
Adaptations that could be made to the type of seeds that Little Red Hen finds, possibly changing the end product. Also the animal friends of Little Red Hen could be adapted depending on the audience interest. The teller could ask the audience to pick three animals to be included into the story or the teller could choose animals based on interest, ability to do voice adaptations, etc. Another adaptation that may occur would be the ending, and whether the little red hen chooses to share with the other animals at the end of the story.
The Three Billy Goats Gruff
Carpenter, Stephen. The Three Billy Goats Gruff. HarperFestival, 1998. Print.
Once upon a time there were three billy goats, all named Gruff. They lived in a valley with very little grass and were very hungry. Up the hillside there was a meadow full of grass and daisies and they wanted to go there to eat and get fat. But to get to the other side there was a bridge and under that bridge lived a mean and ugly troll. One by one the small and medium-sized goats cross the bridge, encounter the troll and persuade the troll to let them pass and wait for the large billy goat. The big billy goat cross the bridge and the troll thinks that it is time for him to eat, but the big billy goat butts him with his horns, stomps the troll with his hooves and tosses him off the bridge and into the water. The three billy goats enjoyed the meadow full of grass and daisies.
Cultural Origin:
This story comes from Norway where it was recorded in 1845 by Peter Christen Asbjorsen and Jorgen Moe.
Audience:
This story can be enjoyed by all ages in a variety of settings. Classrooms and libraries are ideal settings. I could also see this being possibly told at a petting zoo before children interact with live goats.
Adaptation:
This is such a classic story I do not think I would adapt in most cases. One exception that comes to mind is if the story is being told to teen to incorporate some of their language into the story. For instance, maybe the billy goats saying that not being able to cross the bridge is lame.
Once upon a time there were three billy goats, all named Gruff. They lived in a valley with very little grass and were very hungry. Up the hillside there was a meadow full of grass and daisies and they wanted to go there to eat and get fat. But to get to the other side there was a bridge and under that bridge lived a mean and ugly troll. One by one the small and medium-sized goats cross the bridge, encounter the troll and persuade the troll to let them pass and wait for the large billy goat. The big billy goat cross the bridge and the troll thinks that it is time for him to eat, but the big billy goat butts him with his horns, stomps the troll with his hooves and tosses him off the bridge and into the water. The three billy goats enjoyed the meadow full of grass and daisies.
Cultural Origin:
This story comes from Norway where it was recorded in 1845 by Peter Christen Asbjorsen and Jorgen Moe.
Audience:
This story can be enjoyed by all ages in a variety of settings. Classrooms and libraries are ideal settings. I could also see this being possibly told at a petting zoo before children interact with live goats.
Adaptation:
This is such a classic story I do not think I would adapt in most cases. One exception that comes to mind is if the story is being told to teen to incorporate some of their language into the story. For instance, maybe the billy goats saying that not being able to cross the bridge is lame.
Thursday, March 10, 2011
Azban and the Crayfish
Bruchac, James and Joseph. "Azban and the Crayfish." Trickster Native American Tales: A Graphic Collection. Golden, CO: Fulcrum Books, 2010. Print.
One day Azban the raccoon is out walking and feeling hungry. Fortunately he was near a stream. Azban begins to think about the delicious fish and bullfrog he may catch. Then he thinks about all of the crayfish that he can fill upon. He begins looking into the water and at the same moment a crayfish is swimming by and sees the reflection of Azban. Hurriedly, the crayfish crawls underneath a rock to hide, and when Azban reaches out one of his claws the crayfish pinches Azban's finger. Azban sits on the bank to concoct a plan on how to get the crayfish without getting hurt. Azban puts his plan in motion and pretends that he is dead. The crayfish swims back to the crayfish village to tell the Chief and the other crayfish that he was in a great battle with Azban and defeated him and Azban is now dead. The Chief is hesitant in his belief of this story so all of the crayfish go to the bank to see for themselves if Azban is dead. The crayfish test if Azban is dead by pinching him, and although Azban is in pain he remains still. Once the Chief crayfish is convinced Azban is dead he insists that they celebrate so all the crayfish climb out of the water and make a circle around Azban for the victory dance. The crayfish tired themselves out from the singing and dancing and set down to rest. At this moment Azban opened his eyes, jumped up and began eating crayfish after crayfish.
Cultural Origins:
There is no cultural reference giving this specific tale. Father and son Joseph and James are of the Abenaki tribe.
Audience:
I think this tale would be enjoyed by youth in grades 3 and higher, and by adults. Appropriate settings for this story would be schools and libraries, zoos, and aquariums.
Adaptation:
Depending on the audience I may check to see how many youth are familiar with crayfish, and explain this as necessary. Otherwise I would not make any adaptation. I would seek to have the joy of the crayfish and the boasting of the little crayfish, as well as Azban attempt to remain still come out during the telling.
One day Azban the raccoon is out walking and feeling hungry. Fortunately he was near a stream. Azban begins to think about the delicious fish and bullfrog he may catch. Then he thinks about all of the crayfish that he can fill upon. He begins looking into the water and at the same moment a crayfish is swimming by and sees the reflection of Azban. Hurriedly, the crayfish crawls underneath a rock to hide, and when Azban reaches out one of his claws the crayfish pinches Azban's finger. Azban sits on the bank to concoct a plan on how to get the crayfish without getting hurt. Azban puts his plan in motion and pretends that he is dead. The crayfish swims back to the crayfish village to tell the Chief and the other crayfish that he was in a great battle with Azban and defeated him and Azban is now dead. The Chief is hesitant in his belief of this story so all of the crayfish go to the bank to see for themselves if Azban is dead. The crayfish test if Azban is dead by pinching him, and although Azban is in pain he remains still. Once the Chief crayfish is convinced Azban is dead he insists that they celebrate so all the crayfish climb out of the water and make a circle around Azban for the victory dance. The crayfish tired themselves out from the singing and dancing and set down to rest. At this moment Azban opened his eyes, jumped up and began eating crayfish after crayfish.
Cultural Origins:
There is no cultural reference giving this specific tale. Father and son Joseph and James are of the Abenaki tribe.
Audience:
I think this tale would be enjoyed by youth in grades 3 and higher, and by adults. Appropriate settings for this story would be schools and libraries, zoos, and aquariums.
Adaptation:
Depending on the audience I may check to see how many youth are familiar with crayfish, and explain this as necessary. Otherwise I would not make any adaptation. I would seek to have the joy of the crayfish and the boasting of the little crayfish, as well as Azban attempt to remain still come out during the telling.
Jack and the Beanstalk
Kellogg, Steven. Jack and the Beanstalk. New York: Morrow Junior Books, 1991. Print.
There once was a widow that had a son named Jack and a cow named Milky-White. One day Milky-White stopped providing milk so there was no milk to sell at the market. The decision is made to sell Milky-White. On the way to the market Jack meets a man with whom he trades the cow for five beans. Jack's mother is not happy with Jack's decision and tosses the beans out the window. The next morning Jack finds the beanstalk, climbs and arrives at the ogre's house. The ogre's wife feeds Jack, but Jack has to quickly hid when the ogre arrives. Jack goes to the ogres' house several times, escaping the ogre each time and with a bag of gold, a hen that lays golden eggs and a golden harp. Jack narrowly escapes the ogre the last time, but does get away. Jack and his mother become rich and Jack marries a princess.
Cultural Origins:
This story has English origins. According to the author's note, this story is based on the story with the same title found in English Fairy Tales, which was edited by Joseph Jacobs in 1889. This version was told to Jacobs in Australia around 1860.
Audience:
This is a tale that can be enjoyed and appreciated by all ages, children and adults in library and school settings.
Adaptations:
Adaptations can be made based on the audience. If I were telling to children I probably would not include Jack marrying a princess at the end. With an older audience I may use an ogre character, and a younger audience a giant. Another adaptation could be the level of help that Jack receives from the ogre/giant's wife. She could play a major role in helping Jack to hide or she might be instrumental in assisting her husband in searching for Jack.
There once was a widow that had a son named Jack and a cow named Milky-White. One day Milky-White stopped providing milk so there was no milk to sell at the market. The decision is made to sell Milky-White. On the way to the market Jack meets a man with whom he trades the cow for five beans. Jack's mother is not happy with Jack's decision and tosses the beans out the window. The next morning Jack finds the beanstalk, climbs and arrives at the ogre's house. The ogre's wife feeds Jack, but Jack has to quickly hid when the ogre arrives. Jack goes to the ogres' house several times, escaping the ogre each time and with a bag of gold, a hen that lays golden eggs and a golden harp. Jack narrowly escapes the ogre the last time, but does get away. Jack and his mother become rich and Jack marries a princess.
Cultural Origins:
This story has English origins. According to the author's note, this story is based on the story with the same title found in English Fairy Tales, which was edited by Joseph Jacobs in 1889. This version was told to Jacobs in Australia around 1860.
Audience:
This is a tale that can be enjoyed and appreciated by all ages, children and adults in library and school settings.
Adaptations:
Adaptations can be made based on the audience. If I were telling to children I probably would not include Jack marrying a princess at the end. With an older audience I may use an ogre character, and a younger audience a giant. Another adaptation could be the level of help that Jack receives from the ogre/giant's wife. She could play a major role in helping Jack to hide or she might be instrumental in assisting her husband in searching for Jack.
Wednesday, March 9, 2011
Martina Martinez and Perez the Mouse
Campoy, F. Isabel and Alma Flor Ada. "Martina Martinez and Perez the Mouse." Tales Our Abuelitas Told: A Hispanic Folktale Collection. New York: Antheneum Books for Young Readers, 2006. Print.
One sunny morning Martina Martinez was spring cleaning and she came across a silver coin. Martina begins to think about how she spend the coin. She thinks about rock candy and chocolate, but decides that once she eats them she will have nothing. Martina went to the store and found a beautiful red ribbon. She tied the ribbon into her hair and set in front of her house. Several suitors stopped and asked to marry Martina. She ask of each, Senor Gato, Senor Perro and Senor Gallo how he would sing to their children. Martina is now happy with the "mew", "arff", or the "cock-a-doodle-do". Lastly Raton Perez walks by as he does each night. This night is different in that he actually speaks to Martina and ask her to go out with him. She does and after a while of dating Raton Perez and Martina marry. One day as the two are preparing for a party with friends, Martina realizes she has no salt for the soup and goes to the market. Before leaving she warns Raton Perez to stay away from the large pot. His curiosity gets the best of him and into the pot he falls. Martina returns finds him and her cries triggers many actions by the animals surrounding the house. Raton Perez is eventually saved.
Cultural Origins:
The author notes that this is one of the best known Hispanic folktales and it can be heard in various regions of Spain and Latin America. She also mentions that tale is particularly popular in Puerto Rico and sometimes takes on African overtones.
Audience:
This is a story that could be enjoyed by all ages. I think youth in grades 3 and higher, and adults would appreciate the tale most. This story could be told in many settings including schools and libraries. It could also be enjoyed at Dia de los Ninos and Cinco de Maya library programs.
Adaptations:
Author Alma Flor Ada provides several adaptations that could take place in this story. The main character varies as an ant, butterfly, cockroach or rat. Also different endings could occur such as Raton Perez dies once he falls into the pot. Ada also mentions the cat eating the mouse on the wedding night. Another adaptation is the King saving the mouse. In a Mexican version, the mouse is saved by an owl. I think there are a lot of adaptations that could occur and it is the responsibility of the teller to remain true to the culture in whichever adaptations are made.
One sunny morning Martina Martinez was spring cleaning and she came across a silver coin. Martina begins to think about how she spend the coin. She thinks about rock candy and chocolate, but decides that once she eats them she will have nothing. Martina went to the store and found a beautiful red ribbon. She tied the ribbon into her hair and set in front of her house. Several suitors stopped and asked to marry Martina. She ask of each, Senor Gato, Senor Perro and Senor Gallo how he would sing to their children. Martina is now happy with the "mew", "arff", or the "cock-a-doodle-do". Lastly Raton Perez walks by as he does each night. This night is different in that he actually speaks to Martina and ask her to go out with him. She does and after a while of dating Raton Perez and Martina marry. One day as the two are preparing for a party with friends, Martina realizes she has no salt for the soup and goes to the market. Before leaving she warns Raton Perez to stay away from the large pot. His curiosity gets the best of him and into the pot he falls. Martina returns finds him and her cries triggers many actions by the animals surrounding the house. Raton Perez is eventually saved.
Cultural Origins:
The author notes that this is one of the best known Hispanic folktales and it can be heard in various regions of Spain and Latin America. She also mentions that tale is particularly popular in Puerto Rico and sometimes takes on African overtones.
Audience:
This is a story that could be enjoyed by all ages. I think youth in grades 3 and higher, and adults would appreciate the tale most. This story could be told in many settings including schools and libraries. It could also be enjoyed at Dia de los Ninos and Cinco de Maya library programs.
Adaptations:
Author Alma Flor Ada provides several adaptations that could take place in this story. The main character varies as an ant, butterfly, cockroach or rat. Also different endings could occur such as Raton Perez dies once he falls into the pot. Ada also mentions the cat eating the mouse on the wedding night. Another adaptation is the King saving the mouse. In a Mexican version, the mouse is saved by an owl. I think there are a lot of adaptations that could occur and it is the responsibility of the teller to remain true to the culture in whichever adaptations are made.
Saturday, March 5, 2011
The First Strawberries
Bruchac, Joseph. The First Strawberries: A Cherokee Tale. New York: Dial Books for Young Readers, 1993. Print.
Long ago, when the world was new, the Creator made a man and a woman. They were made at the same time so that neither would be lonesome. They married and for a long time they lived together and were happy.
Then one afternoon, the man came home after a day of hunting and noticed that the woman had not begun to prepare their meal. Instead she was picking flowers. The man became angry and in a cold voice he said, " I am hungry. Do you expect me to eat flowers?"
Now too, the woman was angry. She had picked the flowers to share their beauty with her husband. The woman said to her husband, "Your words are hurtful. I will stay with you no longer." The woman turned to the west and walked off toward the sun.
The man followed, but the woman steps were too quick. The man called out her name, but she did not hear him. The man walked fast, but the woman walked faster.
The sun watched as the man followed the woman and saw how sorry the man was and the sun took pity on him. The Sun asked the man, "Are you still angry with your wife?" No, answered the man. The angry words I spoke were foolish, but I cannot catch up to tell her I am sorry. Then I will help you replied the Sun.
The Sun shone its light down on the Earth, on the path where the woman walked, and where the light shone raspberries grew. The berries were so ripe and good to eat. But the woman paid no attention to them and continued walking.
The Sun tried again, and where its light shone on the Earth blueberries grew. The blueberries glistened in the sun. But still the woman took no notice and continued walking.
Again the Sun shone its light down on the Earth and where the light shone, blackberries grew. The berries were so dark and plump, but the woman was too angry to notice and she continued walking.
Now the Sun tried its hardest and this time where the light shone on the Earth, directly in front of the woman, and where the light shone strawberries appeared. They glowed like fire in the grass, and the woman had no choice but to stop and take notice.
The woman knelt, plucked one of the berries and ate it. She had never tasted anything like this. The sweetness of the berry reminded her of the happiness that she and her husband had shared before they quarreled. I must gather some of this fruit to share with my husband, and she began to pick the berries.
The woman was still picking the berries when the man caught up to her.
Forgive me for the harsh words I spoke said the man to the woman. In return, she shared the sweetness of the strawberries with her husband. So it was that strawberries came to be in this world.
To this day, when the Cherokee people eat strawberries they are reminded to be always be kind to one another, and to remember that friendship and respect are as sweet as the taste of the red, ripe berries.
Cultural Origins:
Bruchac mentions in the author's note that first heard the story from Cherokee elders. He also mentions the origins of the first strawberries being included in James Mooney's Myths of the Cherokee (1900). Bruchac credits Cherokee storytellers in helping him learn the story well enough to tell it.
Audience:
I think this story would be most appreciated by adults because of the content. Most adults will be able to relate to and understand the relationship between the man and the woman in the story. They will be able to reflect on a time in their life when they were in a similar situation. I believe this story could also be told to middle and high school age youth.
Adaptation:
The story could be told in its original form or adapted to reflect more a relationship of friendship when told to a younger audience. The adapted story could show the power that hurtful words may have in destroying a friendship. It could also highlight bullying and the need for others to step in and protect friends and peers from bullying. I believe that this story is most effective told in a calm and soft voice.
Long ago, when the world was new, the Creator made a man and a woman. They were made at the same time so that neither would be lonesome. They married and for a long time they lived together and were happy.
Then one afternoon, the man came home after a day of hunting and noticed that the woman had not begun to prepare their meal. Instead she was picking flowers. The man became angry and in a cold voice he said, " I am hungry. Do you expect me to eat flowers?"
Now too, the woman was angry. She had picked the flowers to share their beauty with her husband. The woman said to her husband, "Your words are hurtful. I will stay with you no longer." The woman turned to the west and walked off toward the sun.
The man followed, but the woman steps were too quick. The man called out her name, but she did not hear him. The man walked fast, but the woman walked faster.
The sun watched as the man followed the woman and saw how sorry the man was and the sun took pity on him. The Sun asked the man, "Are you still angry with your wife?" No, answered the man. The angry words I spoke were foolish, but I cannot catch up to tell her I am sorry. Then I will help you replied the Sun.
The Sun shone its light down on the Earth, on the path where the woman walked, and where the light shone raspberries grew. The berries were so ripe and good to eat. But the woman paid no attention to them and continued walking.
The Sun tried again, and where its light shone on the Earth blueberries grew. The blueberries glistened in the sun. But still the woman took no notice and continued walking.
Again the Sun shone its light down on the Earth and where the light shone, blackberries grew. The berries were so dark and plump, but the woman was too angry to notice and she continued walking.
Now the Sun tried its hardest and this time where the light shone on the Earth, directly in front of the woman, and where the light shone strawberries appeared. They glowed like fire in the grass, and the woman had no choice but to stop and take notice.
The woman knelt, plucked one of the berries and ate it. She had never tasted anything like this. The sweetness of the berry reminded her of the happiness that she and her husband had shared before they quarreled. I must gather some of this fruit to share with my husband, and she began to pick the berries.
The woman was still picking the berries when the man caught up to her.
Forgive me for the harsh words I spoke said the man to the woman. In return, she shared the sweetness of the strawberries with her husband. So it was that strawberries came to be in this world.
To this day, when the Cherokee people eat strawberries they are reminded to be always be kind to one another, and to remember that friendship and respect are as sweet as the taste of the red, ripe berries.
Cultural Origins:
Bruchac mentions in the author's note that first heard the story from Cherokee elders. He also mentions the origins of the first strawberries being included in James Mooney's Myths of the Cherokee (1900). Bruchac credits Cherokee storytellers in helping him learn the story well enough to tell it.
Audience:
I think this story would be most appreciated by adults because of the content. Most adults will be able to relate to and understand the relationship between the man and the woman in the story. They will be able to reflect on a time in their life when they were in a similar situation. I believe this story could also be told to middle and high school age youth.
Adaptation:
The story could be told in its original form or adapted to reflect more a relationship of friendship when told to a younger audience. The adapted story could show the power that hurtful words may have in destroying a friendship. It could also highlight bullying and the need for others to step in and protect friends and peers from bullying. I believe that this story is most effective told in a calm and soft voice.
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