Early Childhood Education Journal, Vol. 28, No.

2, 2000
Storytelling for Young Children in a Multicultural World
Mary F. Lenox
1,2
Early childhood educators are challenged to introduce children to the world of their future, a world
that is and will increasingly become multicultural and multiracial. Storytelling is a powerful tool
to promote an understanding of self and others. Readers are informed of the selection criteria for
identifying stories to tell to young children from the colorful tapestry of Asian American, African
American, Hispanic, and Native American heritages. Key questions to ask and answer in selecting
culturally sensitive stories are also discussed, including the elements of character development,
prejudice reduction, authority and authorship, and language. A storytellers sampler of selected
stories for preschool and primary-age students is included in the annotated bibliography. Reference
sources for educators on storytelling techniques and strengthening understanding of multicultural
perspectives are also described.
KEY WORDS: storytelling; ethnic and racial diversity; multicultural stories; multiracial.
INTRODUCTION to break down cultural barriers while building bridges
to understanding.
Early childhood educators are challenged to intro-
duce children to the world of their future, a world that
is and will increasingly become multicultural and multi- The Gift of Storytelling
racial. Storytelling can be a powerful resource to pro-
Baker and Greene (1977) suggest that, telling a
mote an understanding of racial and ethnic diversity. For
story is giving a gift . . . storytelling brings to the listen-
decades researchers have shown that preschool and pri-
ers heightened awarenessa sense of wonder, of mys-
mary grade children are often well aware of, and may
tery, of reverence for life (p. 17). Indeed, storytelling
assume, the racial attitudes of parents and others around
is a gift of understanding of self and others, and under-
them. Children glean ideas, images, attitudes, and
standing the story itself. By extending its purpose to that
perceptions from television, picture books, stories,
of promoting diversity, it becomes a means to under-
and the words and behaviors of peers, caregivers and
standing the diversity of life. Diversity is the norm in
others in their environment. Thus, the early develop-
all of nature from the distinct stripes of each zebra
mental stages of young children are an ideal time to en-
to the unique DNA of each person. Moreover, within
gage their minds and hearts and to build attitudes of
each human being are such various, interrelated ele-
appreciation and respect for those unlike themselves.
ments as body, mind, spirit, and emotions. Wong (1991)
Storytelling can also be a fun-filled way to inspire an
suggests that diversity is the highest common denomi-
interest in learning while expanding awareness and
nator, where difference is an enriching resource that
knowledge of todays diverse environment. It can help
leads to a fuller understanding of what is universally
true (p. 53).
In this context, the story hour becomes the platform
1
College of Education, University of MissouriColumbia.
for preparing children for life and to live in harmony 2
Correspondence should be directed to Mary F. Lenox, 118 Hill Hall,
with others in this dynamic world. It would be ideal for
University of Missouri-Columbia, Columbia, Missouri 65211; e-mail:
libmfl@showme.missouri.edu children to receive the gift of storytelling at an early age.
97
1082-3301/00/1200-0097$18.00/0 2000 Human Sciences Press, Inc.
Lenox 98
The challenge is to identify appropriate stories to meet In Hispanic culture, family ties are important con-
nectors to their cultural values. Diamond and Moore the dual objectives of sharing a wonderful story and in-
troducing concepts of diversity. (1995) pointed out that in the Hispanic tradition, the
family becomes the keeper of the culture (p. 26). By
examining values and attitudes toward the family, one Selecting Multicultural Resources for Storytelling
with Young Children gains deeper insight into the rich Hispanic culture and
heritage. Extended families are also powerful influences
Selecting the appropriate stories to tell to children
on attitudes and behaviors with variations in roles and
is the first and most important dimension of storytelling.
expectations. These distinctions are important to recog-
The wide array of stories might include fiction, folk-
nize in identifying and telling stories to children. Simi-
tales, myths, legends, and other narratives. The story
larly, Asian Americans have evolved from many lands.
must appeal to the teller, inspiring interest in the com-
For example, their cultural roots from Vietnam, China,
mitment to do what is necessary to bring the story to
and Japan reflect a wide array of diverse cultural ele-
life. How does one begin this complex process? There
ments indigenous to each.
are several steps, as identified in the following guide-
African Americans are from the continent of Af-
lines.
rica, whose complex heritages have existed through
thousands of years since the earliest links to humankind.
Select Stories that Recognize and Acknowledge Unique
For the most part, ancestors of African Americans were
Traditions, Customs, and Beliefs of Various Ethnic and
taken out of the region of West Africa. This region in-
Racial Groups
cludes Nigeria, the Ivory Coast, Liberia, Sierra Leone,
and the Gold Coast. They descend from such ethnic In this article, the contextual framework for select-
ing stories is the intentional process of identifying those groups as the Yoruba, Ibo, Fulani, and Hausa from the
nation now known as Nigeria. They are also from the that illustrate the landscape of ethnic and racial diver-
sity. This imperative requires a familiarity with the cus- region known as Ghana, which is dominated by such
ethnic groups as the Ashanti, Fanti, Ga, Ewe, as well as toms, values, and traditions of the people from which
the stories come. It is also recognizing the fact that, his- the kinship group, Mende, found in the nation of Libe-
ria. The outstanding author and storyteller Verna Aard- torically, stories have been a major way to maintain cul-
tural cohesiveness and ethnic identity through the ever- ema gives insights into the Ashanti cultural traditions in
her story, Anansi Does the Impossible: An Ashanti Tale expanding homogenization of culture.
Although there are numerous ethnic and racial (1997). African influence is also evident in stories from
the Caribbean, Brazil, and other Latin American coun- groups within the overarching mosaic of cultures within
the United States, each has its unique points of view tries. The wealth of cultural and ethnic symbolism em-
bedded within stories from the African American experi- and ways of being in the world. Thus, it is important to
understand, for example, that Native Americans place ence is also reflected through the richness of southern,
urban, and rural experiences in the United States before, great value in recognizing the more than 200 ethnic
groups within the sphere of Native American nations. during, and after the slavery era.
Their stories are a real window to their uniqueness. In
this regard, the outstanding author and Native American
Recognize the Qualities of a Good Story
storyteller Joseph Bruchac points to the notion that it is
important to seek out books that depict characters from A good story for the telling has a natural rhythmic
flow of beginning, middle, and end. Its essence is evi- a well-defined individual native nationas opposed to
generic Indians (Ford, 1998, p. 47). Moreover, while dent in a well-developed plot, believable characters, cre-
ative word images, and the use of humor or drama in the Hispanic cultural identity is preserved through the
commonality of the Spanish language and family tradi- its appeal to the imagination and emotions of the child.
Language is the conduit for both the storys context and tions devoted to maintaining family cohesiveness, there
is a rich diversity of perspectives within the Hispanic content, delineating the plot, conflicts, feelings, and
characters within a cohesive framework designed to cap- culture ranging from immigrant stories from Cuba and
Mexico to those from South America and Spain. Thus, ture attention and interest. Character development is sus-
tained through the synergy between symbolism, imagi- the child who has emigrated from Mexico will have a
very different world view than a child from Guatemala, nation, and dialogue. For the storyteller, a good story
becomes a part of the interior spaces of the teller where or a second generation Mexican American, even though
each may share the common language. emotions, style, and characterizations blend with voice,
99 Storytelling for Young Children
expression, and the storys content to create an exciting other. Here one can be exposed to regional stories from
different ethnic and cultural groups as well as the rich journey for the listener (For a classic description of the
meaning of stories, see the bibliography.) range of stories for children and adults alike (for further
information try the websites, National Storytelling Asso-
ciation at http://www.storynet.org and Mo-Tell: A Mis-
Locate Sources of Stories
souri Storytelling Association at http://www.motell.org).
Invite storytellers to the classroom A wide range of resources now exists relative to
storytelling, from print and electronic media to stories In addition to the teacher telling stories, there is an
opportunity to expose children to outstanding storytell- on tape as told by outstanding storytellers. Where does
one begin to find stories for storytelling? An educator ers through their personal appearances as well as
through the use of audiotapes. For example, Jackie Tor- can:
Search for sources of materials in libraries and rence, author of Jackie Tales, provides a rich resource
of stories from her own African American experiences museum bookstores.
Libraries are often acknowledged as treasures of on audiotapes. She is also available for professional ap-
pearances to schools and libraries. These events may be books and stories, but often overlooked are the libraries
and bookstores of our nations museums. For example, cosponsored in partnership with your local school or
public librarian who can also help in identifying story- the museum bookstore at Fort Laramie, Wyoming, the
historic site where thousands of immigrants stopped for tellers from various ethnic and racial groups available to
share their storytelling expertise. The support and spon- supplies along the Oregon trail, has an excellent collec-
tion of stories of Native American experiences in print sorship of visiting storytellers will expand the opportu-
nity to observe excellent storytelling technique while and on audiotape as told in their own voices. [A mail-
order catalog listing all of the resources available at the learning new stories with broad appeal. Parents, grand-
parents, and other community participants are also valu- bookstore may be obtained by contacting the Fort Lara-
mie Historical Association, P.O. Box 218, Fort Laramie, able sources of stories from various cultural perspec-
tives, for they speak from their own experiences. WY, 82212, 1-800-321-5456 or (307)-8378-2662.]
Explore websites on the Internet focusing on story-
Key Questions One Should Ask in Selecting Stories
telling resources such as:
from Diverse Cultures to Tell to Young Children
Bulletin of the Center for Childrens Books: http://
edfu.lis.uiuc.edu/puboff/bccb/o497doz.html
In identifying and selecting stories from diverse
Instructor Magazines, How to Choose the Best
cultures, it is important to consider the following ele-
Multicultural Books: http://www.instructor.com/curric-
ments: character development; cultural sensitivity to
ulum/langarts/reading/multicultural.htm
place; attitudes, perceptions, and prejudice reduction;
Storytelling in the Elementary Classroom: http://
authority and authorship; and language.
www.indiana.edu/eric_rec/ieo/bibs/story.html
Childrens Literature Webguide: http://www.acs.
Character Development
ucalgary.ca/dkbrown/index.html
Characters exhibit a unique perspective on the
North American Native Author Catalog: http://
world, based on everyday experiences and specific de-
nativeauthors.com
tails of language style, family interaction, religious prac-
Korean Folktales: http://www.lg.co.kr/public_html/
tice and other qualities that reflect the cultural behaviors
index.htm
of a group (Diamond & Moore, 1995, p. 44).
Center for the Study of Books in Spanish for Chil-
Does the story use authentic names for the characters?
dren and Adolescents: http://www.csusm.edu/campus_
Are the characters developed within the social and
centers/csb/
cultural framework so as to acknowledge similarities
Attend storytelling festivals as sponsored by na-
and differences?
tional, state, and local organizations
Do the characters have distinguishing traits or quali-
The National Storytelling Association (formerly
ties?
known as the National Association for the Preservation
Are the characters believable?
of Storytelling) is a source of information for technique,
sources of stories, and a place to identify professional
Cultural Sensitivity to Place
storytellers. It also sponsors an annual storytelling festi-
val in Jonesborough, Tennessee, where storytellers from Geographical location influences cultural develop-
ment. For example, stories from the Appalachian region all over the world meet to hear and tell stories to each
Lenox 100
of the United States reflect the cultural nuances of that SUMMARY
region.
Helping children to accept differences by exposing
Where does the story take place?
them to stories from various cultural perspectives
Is there a recognizable, unique cultural and/or ethnic
through storytelling can also be a way to create a com-
dimension of place in the story?
munity of learners who accept and appreciate each other
In the context of place as an element of cultural diver-
as well as those from very different environments. Early
sity, what makes the story different from and/or similar
exposure to ideas from other cultures enables children
to other multicultural stories from other geographical lo-
to broaden their horizons rather than live and think in
cations?
isolation.
Is the setting described in an authentic way?
Through the careful selection of stories, the teacher
can expose children to various points of view, different
Attitudes, Perceptions, Prejudice Reduction
traditions, and a range of ideas, customs, and beliefs dif-
Since attitudes, perceptions, and prejudice are in-
ferent from their own. These types of stories can be a
fluenced by the environment, these can be changed in
powerful means to set children on the road to a future
the learning process.
of openness to the world in which they live and an ac-
Does the story avoid stereotypes while at the same
ceptance of difference as a familiar and expected way
time acknowledging the cultural and racial differences?
of being in the world.
Is there an attitude of equity and inclusiveness in the
story, as appropriate?
BIBLIOGRAPHY: A STORYTELLERS
Is there evidence of stereotypes?
SAMPLER
Who holds the power in the story?
What cultural and ethnic assumptions are made about
Of all our reasons for telling and hearing stories . . .
the story or its characters?
here are ten: Stories entertain us; create community;
In selecting, reading, and telling the story, what im-
help us to see through the eyes of other people; show
us the consequences of our actions; educate our desires; ages come to mind?
help us to dwell in place; help us to dwell in time; help
Is being different considered to be a positive or nega-
us to deal with suffering, loss, and death; teach us how
tive attribute?
to be human; and acknowledge the wonder and mystery
of Creation. Scott Russell Sanders (1997, p. 115)
Authority and Authorship
There are a number of resources available to sup-
Authority is born of knowledge, expertise, and per-
port storytelling for young children in a multicultural
sonal experiences. Writers from different ethnic back-
world. While these in no way encompass the universe
grounds can share the richness of their heritage while
of all that is available, the list can be used as a beginning
sharing their knowledge through stories.
point for selecting appropriate stories for the telling and
Has the author written from his own cultural experi-
to strengthen storytelling technique. It is divided into
ences or is the author an authority on the story he or she
three parts. Part 1 lists stories from the African Ameri-
has written?
can, Asian American, Hispanic, and Native American
How does the author handle concepts of differences?
experiences; Part 2 identifies examples of classic tales
How does the author handle the concept of the com-
retold from the point of view of various ethnic groups;
mon bond of all humanity?
and Part 3 provides recommended reference sources in-
cluding information on storytelling technique, stories
Language
with multicultural/cross-cultural perspectives, and re-
The beauty and flow of language are the mechanisms
search in multicultural education.
for telling the story, and therefore, it must be well written to
capture the imagination, heart, and spirit of the young lis-
Part 1: Stories from Selected Ethnic and Racial
tener. It should also lend itself to oral transmission.
Groups
Does the choice of words assist in conveying the
unique cultural elements?
African American
Does the story have a ring of authenticity?
In what language is the story told? Aardema, V. (reteller). (1975). Why mosquitoes buzz in
peoples ears: A West African tale. Pictures by L. Does the story use words and phases from various
ethnic and racial groups, as appropriate? and D. Dillon. New York: Dial.
101 Storytelling for Young Children
A delightful tale, with beautiful illustrations, as re- Young, R., & Young, J. (1993). African American folk-
tales for young readers. Little Rock, AR: August told by an outstanding storyteller and author.
Belton, S. (1998). From Miss Idas porch. Illustrated by House.
A compilation of 34 favorite stories from African F. Cooper. New York: Aladdin Paperbacks.
When the grownups congregate on the eponymous and African American storytellers with an emphasis on
delighting the minds and hearts of young children. porch and reminisce about seeing Duke Ellington and
Marion Anderson, the narrator and her girlfriend soak
up the lore of greatness and gain insight into the history
Asian American
of racial segregation.
Courlander, H., & Herzog, G. (1946). The cow-tail Nhuong, H. Q. (1982). The land I lost: Adventures of a
boy in Vietnam. New York: Harper & Row. switch and other West African stories. Drawings by
M. L. Chastain. New York: H. Holt. Original stories from the childhood experiences of
a former Vietnamese soldier now living in the United A renowned folklorist, Courlander collected many
of these stories, proverbs, and parables full of humor States as a consequence of a spinal cord injury suffered
on the battlefields during the Vietnam War. His stories, and wit that originated from Liberia, Nigeria and other
ancestral homelands. from his native village in the central highlands of Viet-
nam, tell of his adventures and that of his family with Day, N. R. (1995). The lions whiskers. New York:
Scholastic. real crocodiles, pythons, and his pet buffalo.
Livo, N. J., & Cha, D. (1991). Folk stories of the Reflecting the universal truths of love and courage,
this Ethiopian folktale tells the story of the unusual steps Hmong: Peoples of Laos, Thailand, and Vietnam. En-
glewood, CO: Libraries Unlimited. a mother will take to win the love and trust of her new
stepchild. A highly recommended collection of stories cele-
brating the culture and folklore of three Asian nations, Hamilton, V. (1995). Her stories: African-American
folktales, fairy tales, and true tales. New York: Blue including full-color photographs of Hmong dress and 27
stories appealing to children. Sky Press.
Magic, animals, and the supernatural are among the MacDonald, M. R. (Ed.). (1995). Thai tales: Folktales
of Thailand. Englewood, CO: Libraries Unlimited. themes with a female focus in this collection of 19 sto-
ries by a well-known African American author. A well-known author collaborates with Supaporn
Vathanaprida to create an outstanding collection of folk- Lester, J. (1987). The tales of Uncle Remus: The adven-
tures of Brer Rabbit. Illustrated by J. Pinkney. New tales including humorous stories and animal tales from
Asian culture. York: Dial.
Forty-eight authentic folktales highlight the adven- Matsutani, M. (1968). The crane maiden. New York:
Parents Magazine Press. tures of Brer Rabbit in a collection of witty, philosophi-
cal stories from the days of slavery and beyond, includ- This Japanese legend tells the story of a woodcutter
who discovers a crane caught in a trap. He frees the bird ing the classic, Brer Rabbit and the Tar Baby.
McKissack, P. (1986). Flossie and the fox. Illustrated by and it magically reappears at his home in the form of a
lovely young girl. Her secret becomes the catalyst for R. Isadora. New York: Dial.
A cunning fox is no match for the courageous Afri- the surprise ending.
Yee, P. (1989). Tales from Gold Mountain: Stories of can American girl he encounters in the woods in this
delightful story set in the rural south. the Chinese in the new world. New York: Macmillan.
Eight stories of Chinese immigrants reflect Old Tate, E. E. (1994). Front porch stories at the one-room
school. Illustrated by E. Velasquez. New York: Dell. World traditions in the new world of the United States.
Ten tales told by 12-year-old Margie Carsons fa-
ther to a schoolroom full of enraptured neighbors are
Hispanic
drawn from the authors memories of her life in small-
town Missouri. Baden, R. (1990). And Sunday makes seven. Niles, IL:
Albert Whitman. Tate, E. E. (1997). Dont split the pole: Tales of down-
home folk wisdom. Illustrated by C. Van Wright and Costa Rica is the setting for this Hispanic tale avail-
able in an English or Spanish version. Y. Hu. New York: Delacourt.
Each tale dramatizes the hard-earned wisdom of a Sierra, J., & Kaminski, R. (1991). The multicultural fol-
ktales: Stories to tell young children. Phoenix, AZ: folk proverb through the humorous, homey, and some-
times supernatural tribulations of young protagonists. Oryx.
Lenox 102
A mosaic of stories from various cultural perspec- mirror. As he shares his discovery with his neighbors,
each looks into the mirror and sees something different. tives to excite the minds of children.
Van Etten, T. P. (1990). Spanish American folktales: (Adapted from a Korean folktale).
Hamilton, V. (1988). In the beginning: Creation stories The practical wisdom of Spanish Americans in 28 elo-
quent and simple stories. Little Rock, AR: August from around the world. San Diego, CA: Harcourt
Brace. House.
Outstanding and unusual stories reflecting tradi- A noted storyteller selects stories with the common
theme of how the world came to be, including the myths tions and customs collected by the granddaughter of
Spanish author Jose Pijoan. Owner of the Sky, The Coming of All Things, and
Pandora. Vigil, A. (reteller). (1994). The corn woman: Stories and
legends of the Hispanic Southwest. Englewood, CO: Tello, J., & Lopez, A. (1997). Abuelo y los tres osos/
Abuelo and the three bears. Jefferson City, MO: Libraries Unlimited.
A collection of 45 stories and legends (15 are pre- Scholastic.
A familiar tale transformed to reflect the subtle dis- sented in Spanish) highlighting the rich heritage of His-
panics from the Aztecs to modern times, including well- tinctions of the Hispanic culture.
Young, E. (1989). Lon Po Po: A Red Riding Hood story loved animal tales, magical stories, and creation myths.
from China. New York: Putnam.
The cultural flavor of China is reflected in this
Native American
well-known story.
Bruchac, J. (1992). Native American animal stories.
Part 3: Storytelling Techniques, Multicultural
Golden, CO: Fulcrum.
Perspectives and Reference Resources
A collection of diverse stories by a leading Native
American storyteller and author.
Baker, A., & Greene, E. (1996). Storytelling art and
Keams, G. (1995). Grandmother spider brings the sun:
technique (3rd ed.). New York: Bowker.
A Cherokee story. Northland.
An excellent book of ideas, methodology, and sug-
This story teaches respect for the elements of na-
gested stories by an exceptional storyteller and leading
ture as told through the eyes of wolves, coyotes, and
educator.
other animals.
Banks, J. A. (1994). An introduction to multicultural ed-
Rosen, M. (reteller). (1995). Crow and hawk. Illustrated
ucation. Boston: Allyn & Bacon.
by J. Clementson. San Diego, CA: Harcourt Brace.
This essential resource for todays multicultural
Originally recorded by the anthropologist Ruth
classroom includes a guide to how to create and imple-
Benedict, this traditional Pueblo tale, passed down from
ment a multicultural curriculum and a criteria for select-
generation to generation, tells how baby crows become
ing multicultural stories.
the children of a hawk.
Chase, R. (1948). Grandfather tales. Illustrated by B.
Wood, A. (reteller). (1995). The rainbow bridge. New
Williams, Jr. Boston: Houghton-Mifflin.
York: Harcourt Brace.
A rich array of stories collected by a master of the
This powerful creation myth tells the story of how
storytelling tradition.
the Chumash tribe came to be and their close relation-
Chase, R. (1943). The Jack tales. Illustrated by B. Wil-
ship to land and sea and how these and other natural
liams, Jr. Boston: Houghton-Mifflin.
elements become allies in their survival as a people.
A classic collection of well-known Southern tales
collected by a master of the oral tradition.
Diamond, B. J., & Moore, M. A. (1995). Multicultural
Part 2: Classic Tales as Retold by Various Ethnic/
literacy: Mirroring the reality of the classroom.
Racial Groups
White Plains, NY: Longman.
A practical guide for teachers with activities to pro- Clino, S. (1993). The Korean cinderella. New York:
Harper-Collins. mote interest in diversity.
Kutner, L. (1997, August). Teaching tolerance: Preju- The Korean version of the Cinderella tale, reflect-
ing the cultural nuances of Korea. dice is learned; so is acceptance. Parents, 72, 110
111. Ginsburg, M. (1988). The Chinese mirror. Illustrated by
M. Zemach. San Diego, CA: Harcourt Brace. A nationally recognized publication provides in-
sight for teachers and parents on enhancing and under- A villager returns from his travels to his hamlet in
ancient China with an unusual treasure that he calls a standing diversity.
103 Storytelling for Young Children
MacDonald, M. R. (1993). The storytellers start up Sleeter, C. E., & Grant, C. A. (1988). Turning on learn-
ing: Five approaches for multicultural teaching plans book: Finding, learning, performing and using folk-
tales including 12 tellable tales. Little Rock, AR: Au- for race, class, gender, and disability. New York:
Macmillan. gust House.
The introductory resource for teachers includes An excellent, practical resource for changing class-
room practices to include multicultural concepts in tales from the Hispanic tradition.
National Association for the Preservation and Perpetua- teaching and learning.
Spagnoli, C. (1995, September-October). Storytelling: A tion of Storytelling. (1994). The goat in the chili
patch. In Tales as tools: The power of story in the bridge to Korea. The Social Studies, 86, 221226.
The author includes suggestions for telling Korean classroom. Jonesborough, TN: National Storytelling
Press. stories more authentically by using the idioms of the
language. An exceptional resource from a highly recognized
national group.
Nieto, S. (1996). Affirming diversity: The sociopolitical Part 4: Compilations of Multicultural Stories from
Around the World for Storytellers context of multicultural education (2nd ed.). White
Plains, NY: Longman.
Bruchac, J. (1997). Tell me a tale: A book about story-
Describes successful strategies and program initia-
telling (Including 12 stories from around the world).
tives to infuse multiculturalism in the classroom across
New York: Harcourt Brace.
the curriculum to enhance student success.
Excellent source of stories from the Native Ameri-
Renck, M. A. (1997). Many people, many places, other
can tradition, as well as stories from around the world.
times: An annotated bibliography of multicultural
Cohn, A. L. (Ed.). (1993). From sea to shining sea: A
books for 3- to 8-year-olds. Early Childhood Educa-
treasury of American folklore and folk songs. Illus-
tion Journal 25, 4550.
trated by M. Bang et al. New York: Scholastic.
An annotated collection of books suitable for use
Stories and songs reflecting Americas diverse cul-
with children in preschool or primary grades.
tures within the context of the history of America.
Sawyer, R. (1962). The way of the storyteller. New
Forest, H. (Compiler). (1995). Wonder tales from
York: Viking.
around the world. Little Rock, AR: August House.
An enduring resource on the philosophy of story-
Forest, a professional storyteller, collects 27 time-
telling and its value as a tool for stimulating creativity
honored tales from every continent, lacing them with
and imagination.
lively prose, rhyming refrains, and useful source notes.
Shade, B., & Robinson, J. (Eds.). (1989). Culture, style
and the educative process. Springfield, IL: Charles C
REFERENCES
Thomas.
Baker, A., & Greene, E. (1977). Storytelling art and technique. New
A scholarly exploration of the importance of cul-
York: Bowker.
Diamond, B. J., & Moore, M. A. (1995). Multicultural literacy: Mir- tural perspectives, how children from different racial/
roring the reality of the classroom. White Plains, NY: Longman.
ethnic groups learn in the classroom, and the social and
Ford, P.K., Clegg, L. B., Miller, E., Vanderhoof, B., & Ramirez, G.
cultural effects on learning styles.
(1995, NovemberDecember). How to choose the best multicul-
tural books. Instructor, 105(4), 4653. Skipping Stones: A multi-ethnic childrens forum.
Sanders, S.R. (1997 Spring). The power of stories. The Georgia Re-
A magazine designed to encourage young readers
view, 51, 113126.
to share their stories in any language. The editions en-
Wong, F. E. (1991, JulyAugust). Diversity and community: Right
objectives and wrong arguments. Change, 23, 4854. courage stories from many cultural perspectives.