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.
Monday, March 21, 2011
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.
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