Allan Foster

340 Pages·2000·15.25 MB·English

NATURE STORYTELLING:
THE IMPORTANCE OF BINARY OPPOSITES
Allan Foster
A thesis submitted in conformity with the requirements
for the degree of Doctor of Education,
Department of Adult Education, Community Development
& Counselling Psychology,
Ontario lnstitute for Studies in Education of the
University of Toronto
Copyright by Allan Foster (2000)
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NATURE STORYTELLING: THE IMPORTANCE OF BINARY OPPOSlTES
Allan Foster, Doctor of Education. 2000
Department of Adult Education, Community Development
& Counseliing Psychology
University of Toronto
ABSTRACT
The purpose of this study is to explore the effect of binary structuring in
storytelling when used as a teaching strategy for adult environmental
education. This investigation builds on curriculum theory where binary
structuring is used to design curriculum for young children (Egan, 1986).
A field test provides an experience that people are invited to participate
in and comment upon.
A number of major findings ernerged from the study:
-
Participants recognize the change-event and associated binary
opposites in an oral story
-
Adult and children groups identify the same scene as representing the
change-event and binary opposites in an oral story
-
Curriculum for adult learning may be based on a story structured on
binary opposites
- Participants are able to express the meaning of a story in words, drama
form and in artwork.
Many of the findings frorn this study support the existing
story/curriculum literature for young children. The findings may extend
this theory into the realm of adult education. The research supports
Egan's (1 986) work while offering suggestions for researching how people
find meaning that has not previously been reported in the literature. For
example, using tableau as a way of determining what a story means is a
new technique. Some of the data has been collected using a quantitative
method, a procedure not previously employed on this topic.
This study validates adult educators who use stories in their practice. It
may encourage adult educators to research further uses of stories in adult
education.
iii
Acknowledgments
There are many people to thank:
Jack Quarter, thesis advisor, who patiently, kindly and quickly gave me
feedback and direction.
David Booth and Susan Drake who shared so much about stories and story
structure.
Tahani Gadalla who suggested how to design an expriment and count
things in order to make sense.
Carole Carpenter, my external examiner, who gave me a magic rock for
good luck.
My colleagues at the Kortright Centre who shared in the excitement of the
research and helped me every way they could. My employer, the Toronto
Region Conservation Authority, for making it possible to do this study.
The 1000 children and adults who so readily joined me on a nature hike,
Iistened to the stories, played the tableau game, answered my questions,
created illustrations, gave suggestions and made this research project so
much fun.
Dedication
To Ken Strasser who was the greatest nature storyteller who ever lived
and would have got the biggest kick from reading this thesis.
To Aunt Jean Elder who let me park my car in her drivewsy while I was at
class - but only if I came in later and told her what I had learned.
To my parents, Jean and Russel Foster who filled my youth with nature
-
lore facts and fiction. I cannot walk past a wintergreen leaf without
remembering the first time they encouraged me to taste one. They taught
me that education can be an adventure.
To my wife, Leslie, who selflessly encourages me in everything I do. I get
a hug when I get it right and when I get it wrong.
To our three children, Emily, Andrew and Kevin, who taught me how to
explore the natural world through wonder and the multiple intelligences.
They make me proud every day and have already begun making a difference.
Table of Contents
Abstract
Acknowledgments
Dedication
-
Chapter 1 Introduction
Story and storytelling
The research questions
The importance of stories in our lives
-
Chapter 2 Binary opposites in storytelling
Binary opposites and change-event
Binary opposites shape stories
Premise
Character
Conflict
Conclusion
-
Chapter 3 The uses of storytelling in the classroom
Storytelling to build community
Storytelling teaches active listening
Storytelling as entertainment
Storytelling provides models for living
Storytelling as art
Storytelling as a framework for curriculum
Egan's theory put into practice
Conclusion
Chapter 4 - Adult education through storytelling
Storytelling in business planning
Storytelling in religious teaching
Understanding yourself through your own story
Storytelling as therapy
Conclusion
-
Chapter 5 Method
Rationale
Research approach
Field experiment
lnterviewing method
-
Chapter 6 The 5 key stories
The loon, nspberry and bat
Jack Frost and the magic paint pot
The owl and the rabbits
Circe and the enchanter's nightshade
The cardinal
Why I chose these stories
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Chapter 7 Quantitative Results and Photo Data 159
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Photo record The loon, raspberry and bat 166
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Photo record Jack Frost and the rnagic paint pot 167
-
Photo record The owl and the rabbits 1 68
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Photo record Circe and the enchanter's nightshade 169
-
Photo record The cardinal 1 70
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Chapter 8 Interview Data and Analysis
Story memory
Participant learning
Adult education and storytelling
Retelling stories through tableau
Retelling stories through artwork
-
Chapter 9 Discussion
Explanation
Adult curriculum design model
Application of the findings
Limitations and future research
Conclusion
Bibliography 253
Appendix
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1 The 1998 Ontario curriculum for grade 4 266
2 - Enrichment activities suggested to grade 4 teachen 273
3 - Learning expectations 275
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4 consent form for adult participants 276
- -
5 interview guiding questions 277
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6 Nature storytelling workshop 281
Tables
1 Agreement between judges
2 The findings
3 Jack Frost story
4 Owl story
5 Cardinal story
6 Loon stofy
7 Circe story
Figures
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1 Change-event Loon story
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2 Change-event Groundhog story
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3 Change-event Owl story
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4 Change-event Circe story
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5 Change-event Cardinal story
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6 Change-event General rnodel
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7 Change-event example
Illustrations
1 Loon story
2 Loon story
3 Loon story
4 Groundhog story
5 Groundhog story
6 Owl story
7 Owl story
8 Circe story
9 Circestory
10 Circe story
11 Circe story
12 Circe story
13 Circe story
14 Cardinal story
15 Cardinal story
16 Cardinal story
viii
Cha~ter1 Introduction
Research historians failed in their attempts to make bread from fifteenth
century recipes until they realized that the key ingredient was never
listed. This was because al1 the ancient bakers knew that the missing
ingredient was so basic that everyone concemed would already know about
it and consequently they never mentioned it. The unlisted ingredient was
yeast (Robinson, 19 9 5).
The yeast, or essential ingredient in a story, is the change-event which
moves a crucial hurnan issue for one or more of the characters from one
binary opposite to the other. The change-event is the part missing when a
joke falls Rat or a story about an experience leaves the Iistener
wondering, "So what?" Sorne people who tell stories miss the key
ingredient. This is because to someone who listens to or tells stories
regularly, story structure seems obvious and intuitive. A new or beginning
storyteller needs to be reminded that the change-event and related binary
opposites are the key ingredients to a story. This is particularly
important to anyone wishing to use a stoiy to frame educational content.
This study about story structure is the outcome of more than 25 years of
working with children, teachers, storytellers, parents and educators in an
outdoor setting. The study explored how adults and children are engaged
by stories and how the change-event and its associated binary opposites,
the main structuring elements of stories, can be used to present
educational content to people of al1 ages.