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STORYTELLING AS A METHOD OF EFL TEACHING

Mr. sc. Mauro Dujmovi ć,
Visoka u čiteljska škola, Pula

S u m m a r y
Storytelling, the art of narrating a tale from memo ry rather than reading it is
one of the oldest of all art forms, reaching back t o prehistoric times. Storytelling in-
volves two elements – selection and delivery. Many EFL teachers are interested in sto-
rytelling as a resource in teaching. A successful s toryteller chooses adequate stories
and must be a good performer, for the delivery is c rucial and requires both preparation
and rehearsal. Storytelling is the original form of teaching and has the potential of
fostering emotional intelligence and help the child gain insight into human behaviour.
Storytelling also promotes language learning by enr iching learners’ vocabulary and ac-
quiring new language structures. Moreover, storytel ling can provide a motivating and
lowanxiety context for language learning. The story telling tips given in this article are
meant to help the teacher–as–storyteller as s/he pr epares for a storytelling "perfor-
mance" for students.
Key words: adaptation, motivation, oral stories, preparation, selection, skills,
storytelling, teaching

Rationale

Children learn and create their mother tongue not b y sitting at their desks doing
pencil and paper tasks in isolation from their peer s, or drilling structures out of context,
but by interacting with and manipulating language a nd by engaging in meaningful use
of language in a community of language learners. As a matter of fact, some educators
claim that the traditional reading skill time is di fficult, and actually even painful for
many children (Andersen, 2005). If fragmented skill lessons, workbooks, and endless
worksheets are not the best way for L1 learners to develop their language and master
the art of reading and writing, they must be much l ess appropriate for young foreign
language learners who need to learn a whole new lan guage. These students need to
learn to listen, to speak, to read, and to write in a new language, often without exposure
to English outside school. Because language is an i nteractive process, children learning
a language need ample opportunity to interact in a meaningful, interesting context and
play with the language while developing vocabulary and structures. They need the
collaboration of their peers and teachers in creati ng meaningful contexts and negotiating
meanings in those contexts.

76 The children's own, immediate environment–themselve s, family, neighbourhood
and school–are, of course, good sources of theme un its, but in addition to these, nursery
rhymes and children's literature offer a natural an d interesting medium for language
acquisition. They contain predictable, repetitive p atterns that reinforce vocabulary and
structures, provide relevant themes for young learn ers, and they are often highly
generative . Just as children acquiring their first language b egin developing it orally,
young children learning a second language need to d evelop their oral language to some
extent before they can be expected to function in w riting. However, in many classes
young children copy words and phrases they do not u nderstand and then in chorus
"read" them to the teacher. Carefully chosen childr en's literature allows children to
develop their receptive language in an entertaining , meaningful context and naturally
invites them to repeat many of the predictable word s and phrases, which they gradually
take ownership of and add to their receptive and pr oductive language.
“Children’s literature will often have less complex ity of plot, less profundity of
psychological analysis, and more simple pleasures a nd pains than are found in adult
writing; and it will, usually, have the security of the happy ending; yet in its creations of
new worlds, its explorations of alien points of vie w, its subtle investigations of language
and metaphysics, and its continual spiritual penetr ation, it gives us a creative country as
‘mature’ as the adult’s” (Russel, 2005, 38).
There are a number of good reasons for using litera ture in a language class, in
particular the potential of literature to nurture e motional intelligence and caring commu-
nication. Quality literature provides models for ri ch, natural language and a variety of
different registers.
“Literature is a high point of language usage, argu ably it marks the greatest skill
a language user can demonstrate. Anyone who wants t o acquire a profound knowledge
of language that goes beyond the utilitarian will r ead literary texts in that language”
(Bassnett and Grundy, 1993, 7).
Literature can provide a motivating and low anxiety context for language lear-
ning. Children are naturally drawn to stories and m any language learners come from
backgrounds rich in story telling. Although this ar ticle focuses on teaching English to
children, well selected children’s literature can b e used with adult learners as well.

Why tell stories

Storytelling is the original form of teaching. Ther e are still societies in which it is
the only form of teaching. Though attempts have bee n made to imitate or update it, like
the electronic storytelling of television, live ora l storytelling will never go out of fas-
hion. A simple narrative will always be the corners tone of the art of teaching. Collo-
quial or literary, unaffected or flowery–the full r ange of language is present in stories.
develop in a unique way. The listeners benefit from observing non–polished speech
created on–the–spot. While listening to stories, ch ildren develop a sense of structure

77 that will later help them to understand the more co mplex stories of literature. In fact,
stories are the oldest form of literature.
Through traditional tales, people express their val ues, fears, hopes, and dreams.
Oral stories are a direct expression of a literary and cultural heritage; and through them
that heritage is appreciated, understood, and kept alive. Through a story, listeners ex-
perience a vicarious feeling for the past and a one ness with various cultures of the pre-
sent as they gain insight into the motives and patt erns of human behaviour.
“People have always told stories; it is the oldest form of remembering. In ancient
times, long before written language was developed, people told stories to preserve the
history, traditions, desires, and taboos of their s ocial groups. Each generation told their
stories to the next, which in turn told the stories to the youth of the generation that
followed them.
Since prehistory, all cultures have passed along su ch tales through the oral tradi-
tion, and they have always been an essential part o f our humanness. Some stories were
told just for entertainment. Others were used to sh are the history of a group of people
and also to teach lessons and transmit values and b eliefs. Still others were intended to
explain natural phenomena–such as the changing of t he seasons and the cycle of night
and day–and usually involved the people’s gods and other religious beliefs. Certain sto-
ries were accompanied by music and were sung instea d of recited. These stories re-
mained in a constant process of variation, dependin g on the memory, talent, or purpose
of the storytellers” (Anderson, 2005, 81).
However, many storytellers feel that cognitive enri chment is not the primary aim
of their art. Stories have numerous affective benef its for social and emotional develop-
ment. A story session is a time to share feelings. A relaxed, happy relationship between
storyteller and listener is established, drawing th em together and building mutual con-
fidence. Stories help children to know themselves a nd to know others so they can cope
with the psychological problems of growing up.
Storytelling is also a living art. Like music and d ance, it is brought to life in per-
formance. A story will be altered by the storytelle r's background: his/her choice of set-
ting and detail, and the rapport established with t he audience. The storyteller's building
materials are words, sounds, and language patterns. The tools are the voice, face, and
hands. The product is the creation of a shared huma n experience based on words and
imagination. Storytelling is an individual art, and an imposed method or ready–to–use
plan will prove inadequate. Beginning storytellers must go beyond the rules. They must
know their personal strengths and develop their own unique style.
The most important advantages of storytelling may b e summarized as follows:
– Stories are motivating and fun and can help devel op positive attitudes towards
the foreign language and language learning. They ca n create a desire to continue lear-
ning.
– Stories exercise the imagination. Children can be come personally involved in a
story as they identify with the characters and try to interpret the narrative and illustra-
tions. This imaginative experience helps develop th eir own creative powers.

78 – Listening to stories in class is a shared social experience. Reading and writing
are often individual activities; storytelling provo kes a shared response of laughter, sa-
dness, excitement and anticipation which is not onl y enjoyable but can help build up
child’ s confidence and encourage social and emotio nal development.
– Children enjoy listening to stories over and over again. This frequent repetition
allows certain language items to be acquired while others are being overly reinforced.
Many stories also contain natural repetition of key vocabulary and structures. This help
children to remember every detail, so they can grad ually learn to anticipate what is
about to happen next in the story. Repetition also encourages participation in the narra-
tive. Following meaning and predicting language are important skills in language lear-
ning.
– Listening to stories allows the teacher to introd uce or revise new vocabulary
and sentence structures by exposing the children to language in varied, memorable and
familiar contexts, which will enrich their thinking and gradually enter their own speech.
Listening to stories develops the child’ s listenin g and concentrating skills via:
1. visual clues (for example, pictures and illustra tions),
2. their prior knowledge of how language works,
3. their general knowledge.
This allows them to understand the overall meaning of a story and to relate it to
their personal experience

Storytelling and the curriculum

There are three main dimensions in which stories ca n add to learning in the who-
le school curriculum:
1. Stories can be used to reinforce conceptual deve lopment in children (for
example, colour, size, shape, time, cause and effec t, and so on).
2. Stories are means of developing learning. This major category covers:
– Reinforcing thinking strategies (for example, c omparing, classifying, pre-
dicting, problem–solving, hypothesizing, planning, and so on).
– Developing strategies for learning English (for example, guessing the mea-
ning of new words, training the memory, self–testin g, and so on).
– Developing study skills (for example, making, u nderstanding and interpre-
ting charts and graphs, making and learning to use dictionaries, organizing work, and so
on).
3. Carefully selected stories can also be used to d evelop other subjects in the
Curriculum, in particular:
– Mathematics telling the time, numbers: counting and quantity, m easuring
– Science the life–cycle of insects, animals, outer space, ho w seeds grow

79 – History prehistoric animals, understanding chronology / the passing of
– Geography and the Environment shopping and shops in the local area,
neighbourhood parks, sports and games, using a map, using the atlas, the weather and
climates around the world, cultural studies
– Art and Craft drawing, making masks, hats, cards, clocks etc., ma king collages,
making puppets
– Music and Drama singing songs, playing instruments, role play, mimi ng.

Storytelling and the syllabus

A syllabus is concerned essentially with the select ion and grading of content. For
example, if you are using a coursebook in your teac hing, it is the authors who have
selected the language items you are going to teach and the order in which you introduce
them. They, in turn, may have based their selection on guidelines laid down by a Mi-
nistry of Education. A syllabus is most likely to i nclude language functions and struc-
tures, vocabulary, pronunciation and skills to be p ractised. It may also include the types
of activities and tasks your pupils will be involve d in. Various factors are considered
when selecting and grading content such as the age and conceptual level of learners,
their needs and interest, their language level and previous language–learning experien-
ce, and the degree of difficulty of language and ac tivities.
If you do not have to adhere rigidly to a courseboo k, storybooks can also be used
as short basic syllabuses in their own right, offer ing a novel alternative to the cour-
sebook. Six or seven stories could be worked on thr oughout a school year. This would
mean spending about four to five weeks on each stor y and about eight to ten lessons per
story, if the class has two hours, of English a wee k.

Selection

Selection requires an ability to evaluate stories a nd to discriminate between those
that meet your learners' needs and those that do no t. Although learning stories directly
from other storytellers is the traditional method, you will learn most stories from books.
Many publishers produce simplified storybooks espec ially for children learning
English. However, there are many authentic storyboo ks written for English-speaking
children which are also suitable for those learning English. As they have not been writ-
ten specifically for the teaching of English as a f oreign language, the language is not se-
lected or graded. Many, however, contain language t raditionally found in most beginner
syllabuses. The advantage of using authentic storyb ooks is that they provide examples
of “real” language and help to bring the real world into the classroom. Very often sim-
plified stories represent a watered–down version of the English language and can de-
ceive both teacher and learners about the true natu re of language. Authentic can also be

80 very motivating for a child as they experience a st rong sense of achievement at having
worked with a “real” book. Furthermore, the quality of illustration is of a high standard,
appealing to the young learner, and it plays an imp ortant role in aiding general compre-
hension.
Wide reading gives authority to your telling. Teach ers can choose from a wide
range of storybooks: those that children are alread y familiar with in their mother ton-
gue, such as traditional stories and fairy–tales; p icture stories with non text, where the
children build up the story together; rhyming stori es; cumulative stories with predic-
table endings; humorous stories; stories with infec tious rhythms; everyday stories; fan-
tasy stories, animal stories, and so on.

Adapting stories

You can only effectively tell the stories that you feel comfortable with and which
have meaning for you. Choose stories that you can t ell–beginners should tend towards
folk tales for their simplicity of structure and la nguage, and shy away from complex li-
terary tales (see Table 1 ).
Table 1 provides guidelines on how to select appropriate ta les and what to
consider both during and after storytelling .

Table 1: Storytelling Tips
When selecting your Tales, consider…
Language Difficulty Content
Appropriateness Cognitive Load
Instructional Objectives Interactive
Opportunities Extension Opportunities
When story telling…
Prepare the
environment Prepare the audience for
listening Know where you are headed
and how to get there Evaluate
continuously
and adapt
accordingly
After storytelling…
Make your shared experience real through
extension and reflection activities. Evaluate and reflect in order to improve. Try
again!

There are some features of stories specific to narr ative; if we modify and
simplify stories too much there is a danger of losi ng some of their magic. At the same
time, this magic may also be lost if the language i s too advanced for children to follow.

81 What can the teacher do to make the story more acce ssible?

VOCABULARY AND GENERAL MEANING:
– Check unfamiliar content of words: is it necessary to substitute familiar words
for the more unfamiliar ones? (note: – in some stor ies it is important to keep certain
keywords, even if they are a little unfamiliar)
– Check idioms: are there any idioms which need to be rephrased in clearer lan-
guage? (for example, in Little Red Riding Hood the sentence “The beast had a mind to
eat her up” could be replaced by “The wolf decided to eat her up”
– Check clarity: would more examples make the meaning of the story c learer?

GRAMMAR:
– Check tenses: are there too many tenses? Can they be simplified? (for example:
“everyone was enjoying the ride” can be changed to “everyone enjoyed the ride”)
– Check use of structures: the story may use several structures but you may wi sh
to emphasize one or reduce the number of structures .
– Check word order: in stories the word order sometimes differs from ev eryday
use to create a more dramatic effect. (for example: – “down came the rain”), (note: –
you will need to decide whether this is confusing o r whether the original effect should
be kept)

ORGANIZATION OF IDEAS:
– Check sentence length and complexity: a long sentence may need shortening by
splitting it into two sentences. You may have to ad d other words or mime actions to
make the meaning more explicit.
– Check time references: is the sequence of events clear or does it need to be
reinforced by time markers such as first, then, the next day, etc?
– Check the way ideas are linked: does the relationship between sentences need
to be made clearer
– Check the way ideas are explained: if there is a lot of narrative, would more
direct speech make the story easier to follow?

STORY LENGTH:
Look for a single, clearly defined theme, a well–de veloped sequential plot, a con-
sistent style, standardized characterisation (excep t perhaps for the protagonist), conflict
resolution, dramatic appeal, unity, interesting sub ject matter, and strong emotional con-
tent. Avoid stories with long explanations or descr iptions, flashbacks, subplots, and ot-
her literary devices that break the flow of a story .

82 Choose stories with positive values that implicitly express joy, compassion, hu-
mour, resourcefulness, and other positive aspects o f human nature. On the other hand,
experts tell us not to be excessively concerned abo ut violence, fear, anger, hatred, lying,
etc., in stories.
“The point is that all children experience hostilit y, frustration, anger and fear.
They need outlets for these feelings, just as adult s do. A folktale may be able to provide
just the kind of harmless release children need” (R ussel, 2005, 165).

Supporting children’s understanding

For the preparatory work and for many of the activi ties related to the storytelling,
only the teacher requires a copy of the storybook. This is because a majority of the tasks
are based on the pupils’ predicting what comes next in the story or recapping it from
memory. If they see the storybook at this stage muc h of the surprise element and active
involvement is lost. You may find that at the end o f a lesson you will have to be espe-
cially vigilant to stop your pupils peeping in the book when your back is turned. Pupils
positively enjoy hearing stories over and over agai n. Their confidence grows as they
realize that they can remember more and more. It al so presents them with the challenge
of remembering new language. Participating in the s torytelling becomes a kind of game
activity.
For stories with beginner pupils you may have to us e the mother tongue from ti-
me to time. If your class shares a common language, this is quite natural. In fact, you
would be denying your pupils a very useful learning strategy if you insisted on always
using English. However, you should consider careful ly when and why you would use
the mother tongue. Obviously, the more you use Engl ish and the more your pupils get
better at and more familiar with the language, the less you will need to use the mother
tongue.
Using storybooks successfully in the classroom need s careful planning. Simply
telling a story to a class without preparation can be disastrous with the loss of pupil
attention, motivation and self–confidence. Although children are used to listening to
stories in their mother tongue, understanding a sto ry in a foreign language is hard work.
Pupil's enjoyment will increase enormously if the t eacher ensures that their understan-
ding is supported in several ways. The following gu idelines provide a framework to
make story–based lessons more accessible:
– Provide a context for the story and introduce the main characters. Help your
pupils feel involved and link their experience with that in the story to set the scene.
Relate the story to aspects of their own lives such as where they live, the animals they
are familiar with, what they like or dislike, going shopping, having picnics, etc. Once
the context has been understood and the children ca n identify with the characters, then
elicit key vocabulary and phrases, and involve pupi ls in predicting and participating in
the story.

83 – Provide visual support: drawings on the blackboar d, cut–out figures, speech
bubbles, masks, real objects, flash cards, etc. Can pupils make any of these?
– Identify your linguistic objectives. Decide which language points your pupils
need to recognize for comprehension when the story is told and which would be useful
to reproduce such as lexical sets, language functio ns and structures, etc.
– Relate the story or associated activities to work in other subject areas if pos-
sible.
– Decide how long you will spend on the story. Will you use it once or twice or
over a period of several lessons?
– Decide when you will read the story. Will you rea d a little each lesson–or all at
once after appropriate preparation?
– Decide which follow–up activities would provide o pportunities for pupils to
use language
– Decide in which order to introduce or revise the language necessary for under-
standing the story. Make sure pupils understand the aims of each lesson and how it re-
lates to the story. Check that each lesson provides variety and the opportunity for re-
cycling language previously introduced.
– If necessary, modify the story to make it more ac cessible to your pupils. Sub-
stitute unfamiliar words with better–known ones and adapt the sentence structure to ma-
ke the story easier to follow, and so on.
– Find out if there are any rhymes or songs that pu pils can learn to reinforce the
language introduced.

Preparation(prevents forgetting and flopping)

1. Learn the story. Learning the story means to make the story your ow n. Read it
from beginning to end several times. Read it out lo ud. Master the structure of the story:
the beginning (introduction of characters), the bod y (building of conflict), and the cli-
max (resolution of conflict). Visualize the success ion of scenes. Work on creating sen-
sual setting and character descriptions. Note unusu al expressions, word patterns, rhy-
mes, and dialog.
2. Outline the story. Storytellers agree that memorizing word for word i s not
useful. Learn a story incident by incident, and pre pare notes that will help you remem-
ber this structure. Typed skeleton outlines stick i n the minds of visual learners. Cue card
outlines are also useful in preparation and storage of tales, but should not be used in
telling.
3. Control the story's length. Long stories can be simplified or serialized, but not
excessively modified or censored. Time yourself dur ing practice. A "story hour" should
probably include a mixture of activities: reading s torybooks, listening to story tapes, re-
citing poetry, singing songs, playing games, etc. b esides the oral story itself.

84 4. Control the story's vocabulary. A rich vocabulary, with carefully chosen ad-
jectives and adverbs, gives colour and texture to t he telling. However, you need to be
comfortable with your use of language and not try t oo hard to get things "right" or the
story will come out flat and nervous. Don't worry i f the listeners don't already know
every word; guessing is part of language learning.
5. Refine your storytelling style. Tell the story aloud to listen to your voice –
your instrument – which you can exercise, train, an d even change. A pause and dropped
voice are often more effective than shouting. Take poetic passages slowly; report
conversation at natural speed; tell narration more rapidly, building toward the climax.
6. Practice, practice, practice. Practice aloud to yourself, your family or friends .
You could practice on audio or even video tape. Pra ctice in front of a mirror to eli-
minate poor gestures and facial expressions. Some s ay practice makes storytelling
artificial and studied, but it is essential to the beginner.
7. Relax before telling. Warm up as the situation allows with breathing, st ret-
ching, and vocal exercises.

Improving storytelling skills

There are a number of techniques you can use when r eading stories aloud to
make the experience more enjoyable and successful f or your pupils. If they are unfami-
liar with storytelling, begin with short sessions w hich do not demand too much from
them and over–extend their concentration span. A st ory should be presented in a way
that emphasizes the "what" of the story and not the "how" of the telling.
– If possible, have children sit on the floor aroun d you when you read the story,
making sure everyone can see both your face and the illustrations in the story.
– Speak slowly and clearly. Give your pupils time t o think, ask questions, look at
the pictures, make comments. However do vary the pa ce of your voice when the story
speeds up.
– Make comments about the illustrations. When you s ay a word, point to the il-
lustration at the same time. Involve your pupils ac tively by asking them also to point to
the illustrations.
– Encourage your pupils to take part in the storyte lling by repeating key vocabu-
lary items and phrases. You can invite them to do t his by pausing and looking at them
with a questioning expression and by putting your h and to your ear to indicate that you
are waiting for them to join in.
– Use gestures, mime, facial expressions, varied pa ce and tone. Adapt your voice
to the different characters as much as you can to h elp convey meaning and to keep your
pupils’ attention.
– When telling a story for the first time try to cr eate a relaxed, informal atmos-
phere which mirrors storytelling in children’ s hom es. You can do this by gathering

85 pupils around you in a semicircle; this arrangement also makes it easier for them to hear
you and to see any visual you wish to use. The chil dren will be more comfortable if
there is a small carpeted area in a corner of the c lassroom where they can sit. Some old
blankets spread out for storytelling time would be a good substitute. Make sure you
have rehearsed the story beforehand so that you are able to look at the children
frequently while you read or tell the story. You sh ould also know where you are going
to pause or break up the text to ask questions, and so on.
– When listening to a story in a foreign language c hildren rely heavily
on their eyes to help them understand. The use of v isuals and other support
for listening is consequently very important to the child’s comprehension
and enjoyment of the story. The aids you use when t elling stories can take
many forms, both visual and aural, and are often re ferred to as story props.
These might include pictures, real objects, models, or pre-recorded or
teacher–made cassettes.
Follow–Up Activities

While no follow–up is necessary–stories are valuabl e in their own right, but a variety of
options are available.
1. Ask comprehension questions carefully. If a story is followed immediately by
a barrage of comprehension questions, its artistic value is lost and storytelling suffers. I
would suggest waiting at least a day to ask the usu al who, what, where, when, how
much, and why questions. There are other, more crea tive ways to use questions.
Multiple choice questions and questions that can be answered by inference can be used.
Suppositions can be made, like: What would you have done? What should the character
have done? Students may choose from a list of quest ions provided by the teacher and
ask a partner. It's even possible to give out compr ehension questions first and have the
students construct the story.
2. Invent exercises in phonetics, semantics, and sy ntax. There is no limit to the
language exercises that can be based on a story: in troduction of new vocabulary in
lexical sets, rhyming sets, or grammatical sets; ve rbal practice and grammatical analysis
of repeated phrases.
3. Do listening activities. After a tale, listeners can demonstrate comprehens ion
by: comparing, discriminating, predicting, sequenci ng, classifying, transferring
information, etc. Unlike other listening activities , stories are often repeated, but never in
exactly the same words.
4. Do oral activities. Choral reading, story fill–in, add–on stories, bui lding a tale
from key words, etc., are all options. Discussion t opics can be taken from the story's
themes. Students can retell their favourite tales, or invent stories based on their own
personal experiences.
5. Do written activities. Rewriting, summarizing, or paraphrasing a tale are ob-
vious and worthwhile activities. Written exercises can include controlled writing dic-

86 tation and cloze paragraphs, guided writing (senten ce extension or sentence-combining
exercises), or free writing using the tale as a lit erary model. Other options include: jou-
rnal writing, research projects, making up original stories patterned on stories told to the
group, and writing a poem or a play version of a st ory.
6. Do visual activities. Story–related artwork can include: posters, models , colla-
ges, crafts, masks, puppets, mobiles, photos, pictu re stories, blackboard drawing, etc.
Stories are part of aesthetic education and develop creativity.
7. Do creative drama activities. There are many story games to play. Stories na-
turally lend themselves to be dramatized, mimed, or role–played. Prepared dialogs from
tales can be recited, or students can tell or retel l stories they choose or make up them-
selves.
8. Organizing book corner. Most primary school classrooms have a book corner
where pupils can read books of their own choice and at their own pace. Once a story in
English has been completed in class, it is a good i dea to put extra copies of the book in
the book corner. This will provide an introduction to the written word in English.
Furthermore, as the child will have memorized much of the story, he or she will be able
to make the connection between what he or she has h eard and memorized and what he
or she sees written and illustrated on the page. A stimulating book area will also pro-
mote a positive attitude towards reading and create enthusiasm among children for
books.
If you do not already have a book corner in your cl ass, or would prefer to set up a
special one for English, you may find the following tips useful:
– A bookcase or shelving is ideal but a table or ca rdboard boxes covered in co-
loured paper can be used to display and store books .
– Flowers, plants, a carpet and cushions will make the book corner cosy, attrac-
tive and inviting.
– If possible, display books with the cover showing . This is more attractive and
makes selection much easier.
– Try to involve your pupils as much as possible in the organization of the book
corner. Looking after a book corner encourages chil dren to take responsibility for the
care of books. The class could elect book corner mo nitors/librarians each week or
month to keep the book corner tidy.
– Decorate the corner with any artwork or writing i nspired by stories read to
pupils in class. They could also write comments abo ut different books and stick these
on the wall. Get the children to organize Top Ten b ook chart and display the results in
the corner.
– Bring your pupils’ attention to other books in En glish or in the mother tongue
related to a topic you are covering. For example, m agic, dinosaurs, butterflies, witches,
animals, etc.

87 As far as possible, allow pupils to have open acces s to the book corner. This will
encourage them to visit it as often as they can, wi thout feeling they have to use it at
specific times.
If your pupils can borrow books, you will need to d evise a lending system. A
simple one is to use an exercise book in which pupi ls write their name, the title of the
book, the date borrowed and the date returned. Deci de how long the landing period
should be: one week, two weeks? The book corner mon itors / librarians can take res-
ponsibility for this.

Conclusion

Stories educate, illustrate, enlighten, and inspire . They give relief from the
routine and stimulate the mind. They are a great mo tivator for teachers as well as for
students. Stories are used in an exclusively positi ve scholastic setting, i.e., no grades, no
failures, no textbooks, no notepads, no dictionarie s, no costly audiovisual equipment-
nothing coming between the listener and the teller. Storyt elling is learned slowly over a
long time, but the novice and the expert storytelle r can both experience success on
different levels. A storyteller eventually makes a personal collection of stories for
various occasions and purposes. Storytelling is a f olk–art which can't be manipulated,
intellectualised, or mass-produced. Its magic is un ique. The storyteller is always a
teacher, and the teacher is always a storyteller. A ll teaching methods and suggestions in
this article may be adapted to different grade and proficiency levels depending upon the
type of literature chosen.

Reference

Anderson A. Nancy. 2005. Elementary Children’s Liter ature. London: Pearson
Bassnett S. and Grundy P. 1993. Language through lit erature. London: Longman.
Ellis, G. and J. Brewster. 1991. The Storytelling Ha ndbook for Primary Teachers. London:
Penguin.
Goleman Daniel. 2001. Emotional Intelligence. Whisk ey Creek Documents Design
Polette Nancy.1984.Books and Real life. London: Mc Fa rland &Company, Inc., Publishers
Russel L. David. 2005. Literature For Children. Londo n: Pearson
Sternberg Davidson.1990. Giftedness and the Gifted, Eric EC Digest
Stevick Earl.1992.Teaching and Learning Languages. Cambridge: Cambridge University
Press.

88 PRIPOVIJEDANJE KAO METODA POU ČAVANJA ENGLESKOG KAO
STRANOG JEZIKA
S a ž e t a k
Kao jedna od najstarijih ljudskih vještina koja pot je če još iz prapovijesti, pri-
povijedanje je vještina koja se služi pam ćenjem a ne čitanjem. To umije će uklju čuje
dva klju čna elementa – odabir i predaju. Veliki je broj nast avnika engleskog jezika za-
interesiran za ovu vještinu kao metodu pou čavanja stranog jezika. Uspješan pripovje-
da č odabire prikladne pri če i mora biti vješt izvo đač jer je izvedba klju čna i od pripo-
vjeda ča zahtijeva i pripremu i probu. Pripovijedanje je o riginalan na čin pou čavanja ko-
ji razvija u čenikovu emocionalnu inteligenciju i pruža mu uvid u ljudsko ponašanje.
Pripovijedanje zagovara u čenje stranog jezika oboga ćivanjem rje čnika i usvajanjem
novih jezi čnih struktura. Štoviše pripovijedanje osigurava mot iviraju ći i opuštaju ći
kontekst za u čenje stranog jezika. Svrha ovog rada je da savjetim a pomogne nastavni-
ku–pripovjeda ču u pripremi takvih satova.
Ključne rije či: motivacija, odabir, pri če, pou čavanje, prilagodba, priprema,
pripovijedanje, vještine

R i a s s u n t o
Il raccontare, considerata una delle più antiche ab ilità che trae origine dalla
preistoria, esige memoria e non lettura. Si tratta di un' abilità che richiede due elementi
chiave: scegliere e tramandare. Numerosi insegnanti di lingua inglese usano
quest'abilità come metodo d'insegnamento della ling ua straniera. Un raccontatore
efficace sceglie storie adatte e deve essere abile nel raccontare perché l'esecuzione è di
fondamentale importanza, e gli richiede una prepara zione accurata e delle prove prima
di raccontare al pubblico. Il raccontare è un modo originale di insegnare che sviluppa
l'intelligenza emotiva dell'alunno e gli narra aspe tti del comportamento umano. Il
raccontare favorisce l'apprendimento della lingua s traniera mediante l'arricchimento
del lessico e l'acquisizione di nuove strutture lin guistiche. Assicura un contesto
motivante e rassicurante per l'apprendimento della lingua straniera. L'obiettivo del
saggio è aiutare l'insegnante a preparare ore di le zione usando il racconto.
Parole chiave: motivazione, scelta del racconto, insegnamento, ada ttamento,
preparazione, raccontare, abilità