Disabilities
Practical Approaches for Children and Adults 2nd Edition Nicola Grove
Visit to download the full and correct content document: https://textbookfull.com/product/storytelling-special-needs-and-disabilities-practical-ap proaches-for-children-and-adults-2nd-edition-nicola-grove/
More products digital (pdf, epub, mobi) instant download maybe you interests ...
Strategies for Including Children with Special Needs in Early Childhood Settings 2nd Edition Ruth E. Cook
https://textbookfull.com/product/strategies-for-includingchildren-with-special-needs-in-early-childhood-settings-2ndedition-ruth-e-cook/
Dental Care for Children with Special Needs A Clinical Guide Travis
M. Nelson
https://textbookfull.com/product/dental-care-for-children-withspecial-needs-a-clinical-guide-travis-m-nelson/
Adapting Early Childhood Curricula for Children with Special Needs Ninth Edition Ruth E. Cook
https://textbookfull.com/product/adapting-early-childhoodcurricula-for-children-with-special-needs-ninth-edition-ruth-ecook/
Autonomy, Rights and Children with Special Educational Needs: Understanding Capacity across Contexts Sheila Riddell
https://textbookfull.com/product/autonomy-rights-and-childrenwith-special-educational-needs-understanding-capacity-acrosscontexts-sheila-riddell/
Working
with Violence and Confrontation Using Solution
Focused Approaches Creative Practice with Children Young People and Adults Judith Milner
https://textbookfull.com/product/working-with-violence-andconfrontation-using-solution-focused-approaches-creativepractice-with-children-young-people-and-adults-judith-milner/
Teaching music to students with special needs : a practical resource 1st Edition Alice Hammel
https://textbookfull.com/product/teaching-music-to-students-withspecial-needs-a-practical-resource-1st-edition-alice-hammel/
Loss and grief recovery help caring for children with disabilities chronic or terminal illness Ashton
https://textbookfull.com/product/loss-and-grief-recovery-helpcaring-for-children-with-disabilities-chronic-or-terminalillness-ashton/
Designing for older adults: principles and creative human factors approaches Third Edition Sara J Czaja
https://textbookfull.com/product/designing-for-older-adultsprinciples-and-creative-human-factors-approaches-third-editionsara-j-czaja/
Cardioskeletal Myopathies in Children and Young Adults 1st Edition John Lynn Jefferies
https://textbookfull.com/product/cardioskeletal-myopathies-inchildren-and-young-adults-1st-edition-john-lynn-jefferies/
Storytelling,SpecialNeedsandDisabilities
Nowinafullyrevisedandupdatedsecondedition,thisinnovativeandwide-rangingbook showshowstorytellingcanopennewworldsforindividualswithspecialeducationalneeds anddisabilities.
Providingahighlyaccessiblecombinationoftheoryandpractice,thecontributorstothis bookdefinetheirownapproachestoinclusivestorytelling,describingtheprinciplesand theorythatunderpintheirpractice,whilstneverlosingsightofthejoyattheheartoftheir work.Topicsincludetherapeuticstorytelling;languageandcommunication;interactiveand multi-sensorystorytelling;andtechnology.Eachchapterincludestoptips,andsignposts furthertrainingforpractitionerswhowanttostartusingstoriesintheirownwork,making thisbookacrucialandcomprehensiveguidetostorytellingpracticewithdiverselearners.
Thisnewedition:
hasbeenfullyupdatedtoreflectthewayinwhichthis fieldofstorytellinghasgrownand developed usesabroadrangeofchapters,structuredinawaythatguidesthereaderthroughthe conceptualisationofastorytellingapproachtowardsitspracticalapplication includesanadditionalchapter,sharingthelivedexperiencesofstorytellerswhoidentifyas havingadisability.
Fullofinspiringideastobeusedwithpeopleofallagesandwitharangeofneeds,this bookwillbeaninvaluabletoolforeducationprofessionals,aswellastherapists,youth workers,counsellorsandtheatrepractitionersworkinginspecialeducation.
NicolaGrove hasabackgroundinEnglishteaching,speechandlanguagetherapyand universitylecturing.ShefoundedthecharityOpenstorytellers,andtheStorysharing® approach,andiscurrentlyanindependentconsultantandresearcher.Shehaspublished widelyonaugmentativeandalternativecommunication,literatureandstorytellingforpeople withintellectual/learningdisabilities,andhasworkedinternationallywithstorytellers,educatorsandtherapists.In2020shesetupawebsitetocollectthepandemicstoriesofpeople withlearningdisabilities.SheisanHonoraryFellowoftheRoyalCollegeofSpeechand LanguageTherapistsandamemberoftheOpenUniversitySocialHistoryofLearning DisabilitiesResearchGroup.
Storytelling,SpecialNeedsand Disabilities
PracticalApproachesforChildrenandAdults
Secondedition
Editedby NicolaGrove
Coverimage:©RobinMeader
Secondeditionpublished2022 byRoutledge
2ParkSquare,MiltonPark,Abingdon,OxonOX144RN andbyRoutledge
605ThirdAvenue,NewYork,NY10158
RoutledgeisanimprintoftheTaylor&FrancisGroup,aninformabusiness ©2022selectionandeditorialmatter,NicolaGrove;individualchapters,thecontributors TherightofNicolaGrovetobeidentifiedastheauthoroftheeditorialmaterial,andofthe authorsfortheirindividualchapters,hasbeenassertedinaccordancewithsections77and78of theCopyright,DesignsandPatentsAct1988.
Allrightsreserved.Nopartofthisbookmaybereprintedorreproducedorutilisedinanyform orbyanyelectronic,mechanical,orothermeans,nowknownorhereafterinvented,including photocopyingandrecording,orinanyinformationstorageorretrievalsystem,without permissioninwritingfromthepublishers.
Trademarknotice:Productorcorporatenamesmaybetrademarksorregisteredtrademarks,and areusedonlyforidentificationandexplanationwithoutintenttoinfringe.
FirsteditionpublishedbyRoutledge2012
BritishLibraryCataloguing-in-PublicationData AcataloguerecordforthisbookisavailablefromtheBritishLibrary LibraryofCongressCataloging-in-PublicationData Names:Grove,Nicola,1948-editor.
Title:Storytelling,specialneedsanddisabilities:practicalapproachesforchildrenandadults/ EditedbyNicolaGrove.
Othertitles:Usingstorytellingtosupportchildrenandadultswithspecialneeds. Description:Secondedition.|Abingdon,Oxon;NewYork,NY:Routledge,2022.| “FirsteditionpublishedbyRoutledge2012” --Titlepageverso.| Includesbibliographicalreferencesandindex. Identifiers:LCCN2021030895(print)|LCCN2021030896(ebook)| ISBN9780367746872(hardback)|ISBN9780367746858(paperback)| ISBN9781003159087(ebook)
Subjects:LCSH:Storytellingineducation.|Specialeducation. Classification:LCCLB1042.U852022(print)|LCCLB1042(ebook)|DDC372.67/7--dc23 LCrecordavailableathttps://lccn.loc.gov/2021030895
LCebookrecordavailableathttps://lccn.loc.gov/2021030896
ISBN:978-0-367-74687-2(hbk)
ISBN:978-0-367-74685-8(pbk)
ISBN:978-1-003-15908-7(ebk)
DOI:10.4324/9781003159087
TypesetinGalliard byTaylor&FrancisBooks
Contents
Listofillustrations viii
Foreword ix
Listofcontributors x
Introduction 1 NICOLAGROVE
1Therapeuticstorytellingwithchildreninneed14 JANETDOWLING
2Feelingsarefunnythings:UsingstorytellingwithChildrenLookedAfterand theircarers21 STEVEKILLICK
3Healingstorieswithchildrenatrisk:TheStoryBuildingTMapproach29 SUEJENNINGS
4Whatcanteacherslearnfromthestorieschildrentell?:Thenurturing, evaluationandinterpretationofstorytellingbychildrenwithlanguageand learningdifficulties37
BETHMCCAFFREY
5Lis’nTell:liveinclusivestorytelling:Therapeuticeducationmotivating childrenandadultstolistenandtell45 LOUISECOIGLEY
6Interactivestorytelling53 KEITHPARK
7SpeakingandListeningThroughNarrative62 BECSHANKS
8Usingnarrativestoenhancethelanguage,communicationandsocial participationofchildrenandyoungpeoplewithspeech,language,and communicationneeds70
VICTORIAJOFFE
9Creativeuseofdigitalstorytelling78 DAVIDMESSERANDVALERIECRITTEN
10Storytellinginsignlanguagefordeafchildren85 RACHELSUTTON-SPENCE
11Literatureandlegends:Workingwithdiverseabilitiesandneeds95 NICOLAGROVEANDMAUREENPHILLIP
12Storytellingwithalloursenses:mehr-Sinn® Geschichten104 BARBARAFORNEFELD
13Multi-sensorystory-packs112 CHRISFULLER
14Storytellingwithnurturingtouch:TheStoryMassageProgramme120 MARYATKINSON
15Richinclusionthroughsensorystories:Storiesfromscience128 JOANNAGRACE
16Describingandevaluatingthestorytellingexperience:Aconceptualframework135 TUULAPULLI
17Sensitivestories:Tacklingchallengesforpeoplewithprofoundintellectual disabilitiesthroughmulti-sensorystorytelling143 LORETTOLAMBE,JENNYMILLERANDMAUREENPHILLIP
18SocialStoriesTM 152 CAROLGRAY
19Storysharing®:Personalnarrativesforidentityandcommunity159 NICOLAGROVEANDJANEHARWOOD
20Personalstorytellingwithdeafblindindividuals168 GUNNARVEGEANDANNENAFSTAD
21Personalstorytellingforchildrenwhouseaugmentativeandalternative communication176 ANNALUWALLERANDROLFBLACK
22Self-created filmandAACtechnologies185 MASCHALEGELANDCHRISTOPHERNORRIE
23Learningtotell:Teachingskillsforcommunitystorytelling195 NICOLAGROVEANDJEMDICK
24Theautisticstoryteller:Sharingtheexperienceofotherness203 JUSTINEDEMIERRE
Illustrations
Figures 9.1AscreenshotfromOurStory79
9.2Thespinneystory81
10.1Thecowisstandinginherhighheelsandfallsoverasher heelsslip88
10.2Thecow(shownonthebodyandfaceandhead)inherhighheels(shown onthelefthand)looksupatanaeroplane(shownontherighthand)88
10.3Thecow(shownonthebodyandfaceandhead)looksathermobilephone (shownonthelefthand)andsigns “Hello!” (shownontherighthand)89
10.4Thecombinationoffacialexpression,thesignforcowandtheaccompanying pictureprovidetheillustrationforthestory89
12.1LittleRedRidingHoodinabox105
12.2Themultidimensionaldevelopmentofmehr-sinn®Geschichten109
13.1Exampleofastory-pack113
14.1StoryMassageexample121
16.1Responsetoliterature:anevaluativeframework137
17.1ThecomponentsofaPAMISmulti-sensorystory146
17.2Anexampleofdataderivedfromthecomputerisedanalysis147
21.1Astorypageonasymbol-baseddynamicscreendevice182
22.1AACtechand film187
22.2CamonWheelsinaction191
22.3MyFilmMyStory192
Tables
4.1ComparisonofmeanNationalCurriculumlevelofstories1–5andstories 17–21 41
16.1Aframeworkfordevelopingnarrativeskillsthroughmultisensorystorytelling138 21.1Storytemplate180
Foreword
Inthetenyearssincethe firsteditionofthisbookcameout,interesthascontinuedtogrow inthepowerofstoriesandstorytellingtotransformthelivesofpeoplewhofacemarginalisationanddiscrimination,andthuschangeourcommunitiesforthebetter.Theinvitation toproduceasecondeditionhasprovidedanopportunitytoincludemanynewcontributors, andIamextremelygratefultothepublishersfortheirgenerousendorsementofthewaythe bookhasexpandedalongtheway.Inevitablythough,therewillbestoryinnovatorswhoare missingfromthesepages – towhomIapologise.
TheneweditionwasputtogetherduringthetumultuousandchaotictimeoftheCovid 19pandemic.Thanksareduetotheauthors,whorespondedmagnificentlytoaseriesof demandsanddeadlines,includingoriginalcontributorswhotookthetimetoupdatetheir chapters – inafewcasesthishasnotbeenpossible,andtheoriginalisretainedfrom2012. ThanksalsotoSueCopeforherdiligenceasacopyeditorandJashnieJabsonastheProductionEditor.
LeahBurtonhasbeenmyguidingsupportthroughouttheprocess;herdeepunderstandingofthepurposeofthebookmakingherasuperbeditorandsoundingboard.
Finally,IwouldliketodedicatethisbooktoJamesHoggandLorettoLambe,whose sharedpassionforstorytellingandtherightsofpeoplewithlearningdisabilitieshasleftan enduringlegacy.
NicolaGrove
May2021
Contributors
MaryAtkinson workedformanyyearsasacomplementarytherapistinahospice.SheiscofounderoftheStoryMassageProgramme,andhasauthoredmanybooksonthetopic.She hasanMAinTranspersonalArtsandPractice.In2020,shewasawardedComplementary TherapistoftheYearbytheFederationofHolisticTherapists(FHT)forherworkinlockdownrunninglivesessionsforschoolsandfamilies.
RolfBlack hasabackgroundinmechanicalandbioengineeringandhasworkedwithchildren withcomplexdisabilitiessince1993.HelecturesinEducationalAssistiveTechnologyatthe UniversityofDundeeandisamemberoftheaugmentativeandalternativecommunication (AAC)researchteam,co-initiatingmanyprojectstosupportnarrativeskills.
LouiseCoigley isaspeechandlanguagetherapist,trainedstorytellerandcurativeeducator (Camphill).Herworkhastakenhertofourcontinents,toworkwithchildrenandteenagers,parents,teamsofspeechandlanguagetherapists/pathologists(SLTs/Ps)andteachers.Sherunsbespoketraining,mentorstherapistsandparentsinternationallyandis founderoftheUKClinicalExcellenceNetworkforStorytellinginSLT.
ValerieCritten wasaninformationtechnology(IT)teacherandcoordinatorataspecial schoolforchildrenwithphysicalandlearningdisabilities.SheholdsanEdDfromthe OpenUniversity.Shehaspublishedresearchintochildrenandyoungpeoplewithphysicaldisabilities,withlearningandcommunicationdisabilitiesandpeoplelivingwith dementia.Herlatestprojectshaveincludedresearchingintoprogrammingandcoding withpreschoolchildren.
JustinedeMierre isaCambridgepsychologygraduateandCloreCulturalLeadership Fellow.Hermulti-facetedstorytellingpractice So what’sthestory? beganin2008and hastakenherasbothperformerandtrainertofestivals,events,schools,pubs,libraries andprisonsacrossthecountryincludingtheCambridgeFolkFestival,BathLiterary Festival,EdinburghLiteraryFestival,HayFestivalandtheNationalCentreforthe FolkArts.
JemDick isacreativetherapistandperformancestorytellerwhoholdsadiplomainperson centredcounselling.Hehasworkedwithpeoplewithlearningdisabilitiesforover40years. HewasoneoftheoriginaltrainersanddevelopersoftheOpenstorytellerscompany.
JanetDowling isatraditionaloralstorytellerwithabackgroundinmentalhealthand creativewriting.Shehasworkedinhospitalsandschoolshelpingchildrenfacingtrauma, bereavementandloss.Shehaspublishedtwobooksoffolktales.Shehasbeenavolunteer
withCruseBereavementCarefor15years,andwasawardedaChurchillMemorialTrust Fellowshipin2006for StorytellingintheCareoftheDyingandtheBereaved.
BarbaraFornefeld recentlyretiredasProfessorofEducationforPeoplewithMentalDisabilitiesattheUniversityofCologne,Germany.Previouslyshewasaspecialeducation teacheranduniversityprofessorinLudwigsburg/ReutlingenandHeidelburg.Her field ofresearchwastheeducationanddevelopmentofpeoplewithprofounddisabilitiesin nationalandinternationalcontexts.
ChrisFuller taughtinmainstreamandspecialschools.ShefoundedandledBagBooks, employingskilledcraftartiststoproducestory-packs.Multi-sensorystorytellingand trainingtoursthroughouttheUKfollowed.BagBookshasnowprovidedtrainingin Europe,producedanddistributedover18,000story-packsandwoncharityawards.Now retired,Chrisremainsaconsultantonnewtitlesforthecharity.
JoannaGrace isasensoryengagementandinclusionspecialist,author,trainer,TEDx speakerandfounderof TheSensoryProjects,workingtocontributetoafuturewhere peopleareunderstoodinspiteoftheirdifferences.Thisrunsontheprinciplethatwith therightknowledgeandalittlebitofcreativityinexpensiveitemscanbeusedaseffective sensorytoolsforinclusion.
CarolGray isPresidentoftheGrayCentreforSocialLearningandUnderstanding,anonprofitorganisationservingpeoplewithautismspectrumdisordersandthosewhosupport them.Shehasmanyyears’ experienceasateacherandconsultant,aninternationalreputationandistherecipientofseveralawardsforhercontributionstothe field.
NicolaGrove hasbeenanEnglishteacher,speechandlanguagetherapistanduniversity lecturer,withaPhDfromLondonUniversity.ShefoundedthecharityOpenstorytellers, andin2020setupawebsitetocollectpandemicstoriesofpeoplewithlearningdisabilities.SheisanHonoraryFellowoftheRoyalCollegeofSpeechandLanguage TherapistsandamemberoftheOpenUniversitySocialHistoryofLearningDisability ResearchGroup.
JaneHarwood isamusicianandprojectmanagerwhousesmusic,storyandpersonalnarrativetodevelopcommunication,creativityandself-confidenceforindividualsand groups.AfoundermemberofOpenstorytellers,JanehasledonStorysharingprojectsfor thecharity,workinginadultsocialcaresettingsandschools,anddeliveringstafftraining programmes.
SueJennings isthepioneerofNeuro-Dramatic-Play,Embodiment-Projection-Roleand Theatre-of-Resilience;theEuropeanFederationofDramatherapistsawardedherthe honorarytitleofProfessorofPlay.SheisDirectorofTraining(www.ndpltd.org)and supervisoracrossmanycultures.Sheisco-editoroftheaward-winning International HandbookofDramatherapy and HandbookofPlay,TherapeuticPlayandPlayTherapy.
VictoriaJoffe isProfessorofSpeechandLanguageTherapyandDeanoftheSchoolof HealthandSocialCareattheUniversityofEssex.Sheisco-editorof ChildLanguage TeachingandTherapy, andiscurrentlyworkingonthreeNationalInstituteHealth Research(NIHR)-fundedprojectsonnewinnovativeinterventionsforchildrenwith socialcommunicationdisorders,childrenwhostammerandchildrenwithDown Syndrome.
SteveKillick isaclinicalpsychologist,storytellerandtrainer.Henowworksinindependent practice,isaVisitingFellowoftheGeorgeEwartEvansCentreforStorytelling, UniversityofSouthWalesandatrusteeoftheBeyondtheBorderInternational StorytellingFestival.Hehaspublishedwidelyonthethemeofemotionalliteracyand storytelling.
SayakaKobayashiisastorytellerfromToyotacityinAichiPrefectureJapan.In2019she wasawardedtheToyotaCultureNewFaceAwardfromtheCityCulturalPromotion Foundation.
MaschaLegel isavisualanthropologist, filmmakerandresearcherinthe fieldofaugmentativeandalternativecommunication(AAC),basedatRadboudUniversity,Nijmegen, theNetherlands.SheisthedirectorofthecharityCominBeeld,whichrunsa fi lmproductionhouse,whereamixofyoungpeoplewithandwithoutdisabilitiesworktogether.
LorettoLambe foundedPromotingAMoreInclusiveSociety(PAMIS),Universityof Dundee,developingsupportservicesforfamiliescaringforpeoplewithprofounddisabilitiesacrossScotland.AmongsthermanycreativeinitiativeswereChangingPlaces toilets,sothatfamiliescouldgooutfortheday;healthylifestylesandleisureandsupport inbereavementanddying.Lorettopassedawayin2015butherlegacykeepshermemory verymuchalive.
BethMcCaffrey hasaPhDfromtheUniversityofExeter.Sheisateacherwithwide experienceinlearningdisabilitiesandcomplexneeds,withaparticularinterestinthe developmentofempathythroughstory.
DavidMesser isadevelopmentalpsychologist,EmeritusProfessorattheOpenUniversity andVisitingProfessoratCityUniversity,London.Hiscurrentresearchconcernscommunication,language,literacyandtechnologyinyoungpeoplewithdisabilities.Hewas anacademicadvisortotheBBCseries ‘ChildofOurTime’
JennyMiller isanoccupationaltherapistbyprofessionandCEOofPAMIS.Sheisinvolved innationalandinternationalnetworks,amplifyingthevoiceofpeoplewithPMLDs andtheirfamilycarers.SheisamemberoftheScottishGovernmentleadership groupforpolicyforpeoplewithID;theKingsFundandGSKImpactawardwinners’ leadershipnetwork;co-chairoftheCha ngingPlacestoiletconsortiumandan RSAfellow.
AnneNafstad isapsychologistspecialisingindialogicalapproachestocommunicationand congenitaldeafblindness(CDB)workingatStatped,Oslo,anationalserviceforspecial needseducation.Shehasworkedextensivelyinhighereducation,lecturingattheUniversityofGroningen,andiscurrentlyaguestlecturerinthestudyofatypicalcommunicationattheUniversityofSouthEastNorway.
ChristopherNorrie holdsaPhDfromtheUniversityofDundeeandisaninclusivedesign technologistspecialisinginhumancomputerinteraction.Hisbackgroundisasaweb authorandmultimediadeveloper,contributingtothedevelopmentofthee-learning objectmetadatastandards.Hisdoctoralresearchfocusedontheapplicationofsocioculturalresearchapproachesinspecialeducation.
Openstorytellers (OST)isacommunityartsorganisationprovidingprogressiveopportunitiesforpeoplewithalearningdisability.Theawardwinningstorytellingcompany research,createandperformstoriesthatchallenge,inspireandpromoteinclusion.
KeithPark workedasaspecialistteacherinvisualimpairmentinmanysettingsintheUK andAustralia.Heisawriterandperformer,runninginclusiveworkshopsusingInteractive Storytellingincommunityandheritagesettings.
MaureenPhillip hasworkedwithPAMISforover20yearsinaresearch,developmentand familysupportcapacity.ShehasanMA(hons)inEnglishLiteratureandaMScin InformationScienceandResearchMethods.Shehasdesignedcreativeandinnovative programmessupportinginclusivestory-tellingpracticestoensureincreasedopportunities toaccessandparticipationinthearts.
TuulaPulli isaretiredspecialistinAACandmultipledisabilities,communityrehabilitation, dramaandtransdisciplinaryteamwork.ShehasadoctoratefromtheUniversityofJyväskylä,Finland.
BecShanks isaseniorspecialistspeechandlanguagetherapistwithinamulti-disciplinary neurodevelopmentalteaminNorthWales.Shehasspenthercareerforgingpositive workingrelationshipswitheducationtointegratetherapyinschools.TheSpeakingand ListeningThroughNarrativeapproacharoseinStockportin2001asoneofthesecollaborativeprojects.ShecontinuestodevelopandextendarangeofresourceswithBlack SheepPress.
TheArtsEndofSomewhere (TAEOS)isacreativeandperformingartscollectiveformed in2019inDumfries,ScotlandwithPAMIS.Thegrouparededicatedtoworkingcloselywith,andlearningfrom,peoplewithprofoundlearningandmultipledisabilitiesin creatingnewstoriesandperformancestoincreaseaccesstolocalcultureandheritage sites.
GunnarVege workedfor30yearsasaspecialpedagogueandasanadviserattheSigno DeafblindCentre,SchoolandResourceCentreinNorway.Hehasjustretiredfromhis postinthePsychological-PedagogicalServicesinSandefjoldandVestfoldogTelemark. HehasanMScfromtheUniversityofGroningen,andhisresearchandpracticeis focusedonlanguagedevelopmentandco-creatednarrativesfordeafblindindividuals.He haslecturedwidelyonthistopictointernationalaudiences.
AnnaluWaller isProfessorofHumanCommunicationTechnologiesattheUniversityof Dundee.Acharteredrehabilitationengineer,shemanagesseveralinterdisciplinary researchprojectswithinthe fieldofAAC.Herrecentresearchhasusednaturallanguage generationandtechnologytoautomaticallygeneratejokesandnarrativesfornonspeaking children.ShewasawardedanOBEin2016,andisanHonoraryFellowoftheRoyal CollegeofSpeechandLanguageTherapists.
RobinMeader isanartistwhorunshisownbusinessasanillustratorandgraphicfacilitator.Hehasworkedonmanyprojects,includingcommissionsfortheNHS,BILD, CommunityLiving magazineandOpenstorytellers,tonamebutafew.Hisartwork rangesfromhistoricalimagestoillustrationsofeverydaylife.Hisworkhasbeenused forinformationresources,books,publicationsandanimation.Robinisakeenstorytellerwithapassionformythsandlegends.Helovestoseehisimagestellastoryand
helppeopletounderstandtheworld.Hisownlearningdisabilityhashelpedhimtosee howhisworkcansupportandempowerthevoicesofothers.Contact:robinmeaderartist@gmail.com;https://www.facebook.com/pages/category/Artist/Robin-MeaderArtist-109351024154084.
Introduction
NicolaGrove
Tellingstoriesisoneofthesimplest,mostenjoyableandmosttransformativeactivitieson earth.Withthisbookwehopetoinspireeveryonewithaninterestinthelivesofchildren andadultswithspecialneedsanddisabilities – inhomes,classrooms,artsandheritagefacilities,socialandhealthprovision – tofeelconfidenttotellstoriesinwaysthatarefun,creativeandempowering.
Weknowthatmanychildrenenterschoolwithlimitedlanguageskills,andleavewith poorlevelsofliteracyandoracy,whichaffectstheirlifechances.Recentyearshaveseenno diminutionofthechallengesfacedbyindividualswithdisabilitiesandthosewhosupport them.Around10percentoftheglobalpopulationlivewithadisability;intheUSA,the figureisputat14percentofschoolagechildren.1 IntheUKapproximately20percentof theschoolpopulationatanyonetimearesaidtohavespecialeducationalneedsanddisabilities(SENDs).Betweentheagesof5and7yearsaroundhalfoftheseneedsareidentifiedasspeechandlanguagedifficulties.Theseproblemshaveaknock-oneffect;aspupilsget older,themaindifficultiesreportedrelatetoliteracy,andinadolescencebehaviouraldifficultiesseemtopredominate(ICAN/RCSLT,2018).Thesamereportanditsupdate2 demonstratethatchildrenwithSENDscontinuetoseverelyunderachieve,andaredisadvantagedwhenleavingschoolandmakingchoicesoffurtherstudyoracareer.Theadvent oftheglobalpandemichasincreasedhealthinequalitiesandlevelsofstressinthepopulation,particularlyaffectingpeoplewithdisabilities,childrenwithspecialneedsandtheir families3 (APPG,2021).Atthesametime,wehaveallbeenmadeawareoftheimportance ofsharingourstoriestohelpussurvivethesedifficulttimes(seealsoVanakenetal.,2021).
Howcanstorytellinghelp?
Thisancientcreativeartformhasbeenusedinallsocietiestoentertain,recordeventsand instruct.Throughstorieswe findoutaboutnewexperiencesandideas,developempathy andimaginationandlearnhowtofacechallengesandsolveproblems.Storytellingisa powerfulpracticaltoolthatwecanusetounderstandtheperspectivesofothersandrelease ourimaginations;aprovenmethodofengaginglearners(Haven,2007).Itisalsoacrucial entryskilltosocialparticipation,whichpredictslevelsofsocialisation,advancedlanguage skills,literacyandeducationalachievementovertime(Spencer&Petersen,2020;Lenhart etal.,2018).Thisisnotsurprising.Tellingstoriesisademandingtaskthatrequirescoordinationofmanydifferentabilities:memory,sequencing,manipulationofcomplexlinguisticstructuresandawidevocabulary,understandingandexpressionofcausalandtemporalrelationships,whilstsimultaneouslypayingattentiontothelistenerandmanaging DOI:10.4324/9781003159087-101
expectationsandsharedknowledge(Melzi&Caspe,2008;Reese,Suggateetal.,2010). Increasingly,professionalsusenarrativetasksasawayofidentifyingchildren’sdifficultiesin learningandsocialising(Auza,TowleHarmon&Murata,2018;Spencer&Petersen, 2020).
Nosurprise,then,thatresearchdemonstratesconsistentlythatchildrenwitharangeof learninganddevelopmentaldisabilitieshaveproblemsinbothunderstandingandtelling stories.Profilesdiffersomewhataccordingtothenatureofthedisability.Tosummarise someofthemain findings,autisticchildren(withoutintellectualdisability)maybeableto retellasequence,but findinferencingandoverallcoherencedifficult,withunderlyingproblemsinworkingmemoryandtheoryofmind(Kuijperetal.,2017;Norbury&Bishop, 2002).Childrenwithdevelopmentallanguagedifficulties,asyouwouldexpect,struggle withlinguisticaspects,cohesionandstorystructure(Boudreau,2007;Fichmana&Altman, 2019).Intellectualdisabilitiesareassociatedwithpoormemory,coherence,structure,length anddetail(Brownetal.,2018;Hessling&Brimo,2019).
AlthoughFavot,CarterandStephenson(2020)cautionthatmanystudiesare flawed,oral storytellinghasbeenshowntoyieldmanybenefits:increasedlanguagecomprehension, emotionalwell-being,empathy,asenseofidentity,imagination,creativity,literacyskillsand recoveryfromtrauma(see, interalia,Brinton&Fujiki,2017;Curenton,JonesCraig& Flanagan,2008;Griffinetal.,2004;Haven,2007;Hibbin,2016;Lenhartetal.,2020; Reese,Suggateetal.,2010;Reese,Yanetal.,2010;Schauer,Neuner&Elbert,2017;Snow Burns&Griffin,1998;VanPuyenbroeck&Maes,2008).
Definingstorytelling
Becausestorytellingissuchadiversepractice,therearemanydifferentperceptionsofwhatit involves.Alloraltellersareusedtowearilycorrectingmisunderstandings: ‘No,wedon ’t readstoriesaloud,wetellthem ’ , ‘ No,it’ snotjustforchildren’ , ‘No,wearen ’tcreative writersassuch’ (thoughoracyandliteracyclearlyinteract).Oraltalesarehandeddown ‘frommouthtoear ’ , 4 sometimesmediatedbywrittenforms.Ifyouaredeaf,thestories willhavebeen(literally)handeddownmanuallybetweenhandandeyethroughsignlanguage.Deafpeopleareamazingstorytelle rs(Sutton-Spence&Kaneko,2016),asanyone whohasbeenprivilegedtositamongstagatheringofsigningfriendswilltestify.Themain focusofthisbookistheliveinteractiveconstructionofstories,ratherthanthecreationof storiesasoutput(writtenordigitised),althoughthismayindeedbeanimportantgoalor toolintheprocess.AstheStoryMuseuminOxford5 putsit,storytellinginvolvesdirect, immediate,face-to-faceinteractionsthatengageattentionandrequireactivelisteningand interpretation.
However,ineducationalsettings,oralcomponentsofstoryareoftenminimised.Inthe UKspeakingandlisteninghasbeensubordinatedtoliteracyforthelast20years.In2021, alarmwasraisedbyanAllPartyParliamentaryInquiryaboutthedowngradingoforacy,and acleardeclineinyoungpeople’sabilitiestoexpressthemselveseffectively(APPG,2021). Storytellinghasanimportantroletoplayinaddressingthisproblem – aslongasitsoral natureisvalued.Inthecurrentcurriculum(EnglandandWales),virtuallyeverythingrelatingtostoryandnarrativeissubsumedwithinliteracy,withsomeuseofitindrama.This mayexplainwhyteacherstendtoemphasisereadingandwriting.SomeyearsagoIcontributedasectiononoralnarrativetasksforyoungpeoplewithSENDstoamanualfor newlyqualifiedteachers,andsubsequentlyledsomeface-to-facetraining.Somemonthslater
Iwasaskedtosupportteacherswhowere findingthetrainingdifficulttoimplement.One youngwomantoldme, ‘Itrieddoingwhatyousuggestedbutitjustdidn’twork’.I enquiredfurther: ‘Whowereherstudents?’ Theyturnedouttobeteenageboyswithemotionalandbehaviouraldifficulties. ‘Whatwastheproblem?’‘Well,’ shesaid, ‘theyarejust reallyscaredofreadingandwriting.’ MaybeIhadnotbeenclearenoughoriginally,butthe chaptershewasworkingfromspecificallystatedthatthiswasanoralapproach.More recently,ItoldastorytoanentireprimaryschoolduringUKNationalStorytellingWeek, andwhenIsatdown,ateacherturnedtomeandcommented, ‘It’sallaboutTalkfor Writing,6 isn’tit?’ AtwhichpointIhadtopreventmyselfshouting ‘No!it’saboutTalkfor Talking!’
Aboutthisbook
The fieldofspecialneedshasseenanupsurgeinstorytellingapproachesthathavetransformedthelearningexperienceofindividualswithawiderangeofdifficulties.However,as McCabe(2020)pointedout,thereisnooneapproachthatwillsuiteveryone.Themany optionsonofferareexciting,butalsochallenging.Whatkindofstorytellingdoyouwant? Howdoyouknowwhatwillbestsuityourstudents?Howdoesaparticularapproach fit withyourworkingpriorities – andindeedyourowninterestsandskills?
ThisbookgrewfromashortsurveyIconductedin2009withcolleaguesusingstorytellingindifferentwaysindifferentsettings.Iheardfromthosewhohadbeenworkingfor manyyears,butIalsodiscoveredinnovativenewprojectswhichwouldinevitablytakesome timetowriteupandpublish.However,inmymanyvisitstoschoolsandcentres,Ifound thatprofessionalswereoftenonlyawareofoneortwowaysoftellingstories.Thisoverview ofbothtriedandtestedformats,andnewdevelopments,aimstointroducetherangeand varietyofstylesonoffer.
Manyyearsago,whenIwasbeginningtoexplorethepotentialofstoriesandstorytelling, acolleaguesuggestedMichaelBamberg’sbook NarrativeDevelopment:SixApproaches (1977).7 TakingitstitlefromWallaceSteven’sfamouspoem, ‘ThirteenWaysofLookingat aBlackbird’,whichitselfdrewonWilliamEmpson’sessay, SevenTypesofAmbiguity (1930), thisisacollectionwhichfacilitatesthestudyofcomplexperspectivesonnarrativeby addressingthesamesetofquestionsineachchapter.Itsuggeststhatnooneapproachis superiortoanyother,butthatitiscriticaltounderstandthevariedframeworksandtheir foundingprinciples,inordertoasktherightquestionsandinterpretwhatyouobservein yourownpractice.Inreallife,waysoftellingmaymerge – forexample,usingcalland responsetechniquesalongsidemulti-sensoryresources,orBagBookformatswithliterature aswellastalesspecificallycomposedto fittheschema.However,itisimportanttobeaware ofwhatelementsyouarecombining,andwhy.
Iwantreaderstounderstandwhatdifferentapproachesinvolve,andthehistory,theory andprinciplesthatguidedtheirdevelopment.Next,toillustratehowtheapproachworksin practice,toknowwhattheoutcomesarelikelytobeandtohaveaccesstorelevantevidence. Asnotallapproacheswillnecessarilyworkforeveryone,thereareissuesandpotentiallimitationstoconsider.Culturalfactorsareimportantinallinterventions,andstorytellingisno exception.Finally,readersshouldfeelinspiredtogoandtrythingsoutforthemselves,tobe givenreallypracticaltipsandtoknowwheretogofortraining.
Thefollowingissuesarediscussedineachchapter,bearinginmindthatauthorshave addressedthematdifferentlevelsofdetailandindifferentways,appropriatetotheirphilosophy
andpractices.The finalchaptersdivergefromthisframework,sharingthelivedexperienceof storytellerswhoidentifyashavingadisability.
Background
Adescriptionoftheparticularapproachandadefinitionoftheterms ‘story’ and ‘narrative’
Relevant history,sometimesverypersonal
Theoriesandprinciplesthatunderpinthepractice
Workinpractice
Adescriptionofatypicalsession
Theuseofdifferentkindsofstories – fictional,personal,traditionalora combination
Howtheworkisevaluated – outcomes,relevant assessments,evidence thataparticipantislearning,progressingorsimplyenjoyingandengaging
Thestoryof …. Anillustrationortwoofhowanindividualorgrouprespondedto theapproach. Allthenamesusedherearepseudonymsunlessotherwiseindicated.
Contextsoflearning relevanttothisapproach
Issuestoconsider
Anylimitationsorproblemsthatmayarise,withsuggestionsfortacklingthem
Anygroupswhoneedspecialconsideration
Culturalfactors thataffecttheinvolvementofdiversecommunities
Tryityourself
Toptips forpractitionerswhowanttostartusingstoriesintheirwork
Wheretogo – furtherinformationandresources
Thecontributorstothisbookareallhighlycreativepractitionersintheartofstory, whethermythsandlegends,writtenliterature,personalstories,lifestoriesandbiographyor storiescreatedbyparticipantsthemselves.Thepurposesandmethodsarediverse.Therapeutic,educational,culturalandleisureaimscanbeidentified;usuallywearelookingata happymixtureofallfour.Differentmodelsandframeworksareusedinthedesignandto assess,progressandevaluateoutcomes.Someauthorshavebeeninapositiontoundertake rigorousresearch – reportedhere.Theevidencefromothersisbasedmoreontheirlong experience,observationsandreportsfromcolleaguesandthemanychildren,adults,families andprofessionalswhohavebenefitedfromtheirwork.
The firstchapters(1–3)comefromaspecificallytherapeuticperspective.JanetDowling,a counsellor,SteveKillick,apsychologistwhoworkswithfostercarers,andSueJennings,a playanddramatherapist,describethewaystheyhaveworkedwithchildrenfacingemotional crisescausedbyillnessandinjury,andbyneglectandabuse.Thissetsthetone – theprovisionofahealing,regenerativespaceisoneofthemostimportantgiftswecanoffer throughstory,evenifwearenotspecificallytrainedintherapeuticmethods,asBeth McCaffrey(Chapter4)demonstratesinheraccountofasuccessfulandcreativestorytelling projectinaspecialneedsclassroom.McCaffrey’sworkinvolvesacomplexmixtureofliteracy,oracyanddrama.Workinginarangeofsettings,LouiseCoigley(Chapter5)shares
withKeithPark(Chapter6)anemphasisondrama,ritualandrepetition(asdoesTuula Pulli’swork,Chapter16).Park’sstorytellingprovidesaccesstoculturenotonlythroughthe storiesthataretold,butviahistoricsettings,athemesharedwithGroveandPhillipand performancestorytellers(Chapters11and25).
Thenextfourchapters(7–11)allfocusonexplicitteachingofnarrativeskills.BecShanks –andhercolleagueJudithCarey – havelongbeeninfluentialinthenurseryandprimary sector,andhaverecentlyextendedtheirprogrammetoanupperageof14years.Both ShanksandVictoriaJoffe(Chapter8),whoseprogrammetargetssecondary-agedpupilsand youngadults,focusonstrategiesforhelpinglearnersmasterthestructuralelementsof storytelling,usingvisualpromptsandcarefullypreparedquestions.Thetwofollowing chaptersaddressthelearningstylesandneedsofyoungpeoplewhocommunicatenonverbally.Digitalappsarenowubiquitous,andDavidMesserandValerieCritten(Chapter9) describeastorycreationtoolthatcanbeusedwithspeakingandnon-speakingchildrenand adultsalike.RachelSutton-Spence,workingwithdeafchildreninBrazil,usesfolklorestories todeveloplanguageskillsinsign(Chapter10).
AccesstocultureisanimportantthemeforSutton-Spence,andprovidesalinktothe workofNicolaGrove,MaureenPhillipandBarbaraFornefeld(Chapters11and12),who explorestrategiesforsharingliteratureandfolktaleswithindividualswithawiderangeof communicationdifficulties.Multi-sensorytechniquesarecentraltotheirapproaches,and haveprovedtobeessentialinthenowwell-establishedtraditionsofstorytellingwithchildrenandadultswithprofounddisabilitiesandsensoryimpairments.
Multi-sensorystorytellingistotheforeinchaptersbyChrisFuller(whowasthepioneer inthis fi eld),MaryAtkinson,JoannaGrace,TuulaPulliandLorettoLambe,JennyMiller andMaureenPhillip(Chapters13 –17).Graceworkswitharangeofstories,andhere providesanoveldimensionbyconsideringnon- fi ction – tellingstoriesfromscience.Pulli, drawingonworkbyGrove,providesaframeworkforevaluatingresponsetoliterature andfolktale.AnotherperspectiveisprovidedbyMaryAtkinson’smassagestorytelling (Chapter14).
AtPAMIS,thecharityfoundedbyLambe,storytellingismulti-faceted,buttheirchapter (17)on ‘sensitivestories’ describeswaysofenablingyoungpeoplewithprofounddisabilities toexploredifficultemotionalsituations,suchassexuality,healthandbereavement,groundedinpersonalexperiences.Likewise,CarolGray(Chapter18)haspioneeredanapproach forthosewithautismorsimilarsocialcognitionproblemstounderstandandadapttothe manyconfusingsituationstheyencounterindailylife.Gray’s ‘socialstories’ canbeconsideredscriptsforaccessingroutine,predictableevents – whatusuallyhappensintheday.By contrast,NicolaGroveandJaneHarwood(Chapter19)describeaframeworkforsharing experiencesthatare ‘tellable’ becausesomewhatunexpected.Storysharing®isatechnique basedoncollaborativeanecdotaltellingwhichisalsoapplicableto fictional,traditional stories,andtofactualaccounts.ThetheoreticalbasisoftheirworkissharedwithGunner VegeandAnneNafstad,whosechapter(20)follows.
Memoryforapersonalexperiencecanbeconceptualisedasasequenceofsensorimotor impressions.ThisisthebasisforVegeandNafstad’srevelatoryworkondevelopingpersonal experiencenarrativeswithdeafblindindividuals.Arguably,thisisthepopulationpresenting thegreatestchallengetostorytellerswantingtosupportaccesstostoriesforidentityand culturalaccess.VegeandNafstad’sdescriptionofplannedchoreographyandthecreationof bodilyemotionaltraces(BETs)hasapplicationforothergroupswithsensoryandintellectual impairments.
Continuingthethemeofpersonalnarrative,AnnaluWallerandRolfBlackandMascha LegelandChrisNorrieworkwithyoungpeoplewithcomplexneedsusingusingaugmentativeandalternativecommunication(AAC).WallerandBlack(Chapter21)createdaprogrammetosupporttherecodingandsharingofpersonalstories.LegelandNorrie(Chapter 22)havepioneered filmtrainingsothatyoungsterscanincorporate filmedfootageintotheir retellingsofpersonalstories.Insodoing,theybecomeproducersofculturalartefacts. Commontoallpersonalstorytellingisthenecessityforcarefulpreparationandadaptationto individualssothateachstoryisuniquelyownedandtold.
The finalthreechaptersfeaturestorytellerswith livedexperienceofdisability.NicolaGroveand JemDick(Chapter23)laysomeofthegroundworkbydescribingthecoursethatwasdeveloped overthreeyearstobuildthecompanyOpenstorytellers.Wethenhandovertothestorytellers themselves.JustinedeMierre(Chapter24)isaseasonedprofessionalwhowasrecentlydiagnosed asontheautismspectrum.Herchapterisawake-upcalltoallofustoacceptandlearnfrom neuro-diversecommunities.Finally,thereis testimony(Chapter25)aboutwhatitmeansboth personallyandpublicly,toworkasstorytellerswithlearningdisabilities – fromSayakaKobayashi inJapan,TheArtsEndofSomewhereinScotlandandOpenstorytellersinEngland.
Terminology
Specialeducationalneedsanddisabilities
AsdefinedwithintheUKeducationsector,theseareneedsthataffectachild’sabilityto learnandfunctioninschoolanddailylife: cognitiveandlearning;languageandcommunication;socialandemotional;sensory (e.g.visualandhearingimpairments)and physical Somearetemporary;forexample,apupilmayhavespecificemotionalneedsinresponsetoa crisis,orphysicaldifficultiesresultingfromanillness,whichsubsequentlyareresolved.Other needswillbepervasiveandresultinpeopleidentifyingthemselves,orbeingidentifiedby others,ashavingdisabilitiesinadultlife.
Theindividualsdescribedherehaveawiderangeofdifficultiesanddisabilities.Someof theapproachesaredesignedforaparticulargroup,othersareinclusive.Manycontributors workwithadultsaswellaswithchildren.
Storytelling
Storytellingisprovingsopopularthatwepractitionersarestrugglingtodefineapproachesin waysthatarepreciseandindicative.Mostauthorshereidentifyamulti-sensorydimensionto theirwork:whatwemightcallgeneric(small ‘m’)multi-sensory.Lambe,MillerandPhillipand colleaguesinEuropeusethetermMulti-sensoryStorytelling MSST(‘bigM’)astheirtrade name.Similarly,alloralstorytellingisinteractive(small ‘i’)butParkcoinedthetermInteractive Storytelling(big ‘I’)forhiscallandresponseapproach,becausethisistheelementthathefelt wasmostdistinctiveinhiswork.Inthisvolumewehavetriedtorecognisethecommonalities betweenapproachesaswellasrespectingprofessionalboundaries.
Narrativeandstory
Eachauthorwasinvitedtoprovideadefinitionofthebroadcategoryofnarrativeandthe narrowercategoryofstory – andmanyhavedoneso.Inallcases,narrativeisdefinedasthe
conveyingofasequenceofeventsthatarelinkedintime(temporality)andbyconsequence (causality).Oneevent,aswesay,leadstoanother.Story,however,isanothermatter,and thewaythatauthorschosetodefinethiswasgovernedbytheirownperspectives.These definitionsofferoptionstothereader;ifyouwanttoemphasiseaparticularaspectofstory thenlookforadefinitionthatmeetsthiscriterion.Forexample,Shanksplacesthefocuson cognitiveandlanguageskills,whereasParkfocusesonthepoetic,andPullifocusesonsocial andaestheticelements.VegeandNafstadareconcernedaboveallwiththeco-construction ofmeaningtoenablepeoplewhoaredeafblindtobuildmemoryandidentity.Grayseesher socialstoriesasmorelikenarratives,astheentertainmentaspectisnotprominent.However, whatSocialStoriesTM demonstrateveryclearlyistheancienteducationalroleofstorytelling inillustratinghowweshouldconductourselvesinourrelationshipswithothersandindifferentsituations.Ofcourse,youdonothavetoberestrictedbyanyonedefinition: McCaffreyusedamultidimensionalframeworkforherresearch.
Typesofstory
Mostauthorsworkwithmanydifferentgenres:traditional(myths,legends,wondertalesand fables),authored fictional,factual,personalexperiencesandstoriesthattheteller,orthe child,inventstosuittheoccasion.Someauthorsusepredominantlyonetype,othersmix andmatch.Oneissueisthatgenredoesinfluencetheeasewithwhichchildrenmasternarrativestructure.Everydayaccounts(suchasthoseinvolvedinSocialStoriesTM)andpersonal narrativesseemtoposelessofachallengethanretold fictionalstoriesorcomposedstories, bothfortypicallydevelopingchildren(Allenetal.,1994;Hudson&Shapiro,1991)and thosewithlanguageimpairments(McCabeetal.,2008;Westerveldt&Gillon,2010),particularlyiftheyhavebeendirectlyinvolvedintheexperience(researchreportedbyBrown etal.,2018).However,asWallerandBlacksuggest,insomecircumstancesitmaybethat fictionsareeasierthanpersonalnarratives whentheyareknownandpredictable,and offerstructuredopportunitiesforparticipation;orwherereceptiveskillsareparticularlypoor (Spencer&Petersen,2020).Inchildren’sdevelopment,itisclearthatthereisaninteraction betweentypesofnarrative;aschildrenbecomemoreexposedtoliterate fictionalstories, thereisfeedbackintotheirownnarrativeconstructions(Fox,1993).Weneedtonurtureall typesofstoriesandstorytelling,anditisclearfromthesechaptersthatindividualsthrive whenthestorytellerisabletotailortheselectionofthestoriestotheirparticularcircumstancesandinterests.
Itfollowsthereforethatchoiceofstorytypeiscriticalwhendetermininganindividual’s levelofnarrativecompetence.Thereareseveralpublishedassessmentsavailable,butas Duinmeijeretal.(2012)pointout,youneedtobespecific,choosingtoolsthatareappropriatetotheunderlyingquestions,purposesandfunctionsoftheapproachyouareusing.
Stylesoftelling
Becauseofthelongassociationbetweenbooksandstories,theterm ‘storytelling’ ubiquitouslyrefersto reading aswellasoral telling.Thereisalsoacloserelationshipbetween telling,asnarration,and performing,asdramatisation.Attheextremestherearecleardistinctions(e.g.indrama,charactersengageindialogueinrealtime,whereasinnarrative, speechisreported).Butoneofthejoysofusingstoryisthatitispossibletomovebetween differentmodes.ThusMcCaffreystartsbyreading,movesintodramaandthentowards
tellingandwriting.Fuller,Fornefeld,Lambeandhercolleagueslocatetheirwork firmly withinthetraditionofreadingstoriesoutloud,butincludeopportunitiesforinteraction. Theyusepre-writtenscriptsinordertoensureconsistencyofdeliveryandopportunitiesfor repeatedlearning,asdoAtkinson,GraceandGray.LegelandNorris,MesserandCritten andWallerandBlackareofnecessitycomposingscriptedstoriesbecauseoftheconstraints andaffordancesoftechnology.VegeandNafstademphasisetheimportanceofplanned choreographyfornarratingwithdeafblindindividuals.Otherauthors(Dowling,Jennings, Grove,Coigley,Pulli,Dick,Harwood,KillickanddeMierre)operatemorespontaneously, inaccordancewithafundamentalprincipleoforalstorytellingthateachstoryistoldanew becausethetellerisresponsivetotheparticularaudience.However,theanecdotesdevelopedbyGroveandHarwooddoeventuallybecomescriptedthroughrepeatedtellingand sharing.AndPark,whosecallandresponseapproachishighlyoral,keepstoascriptevery bitasstrictlyasthosewhoreadoutstories,becauseoftheimportanceofthemetricalbeat. GroveandPhillip,workingwithliterarytexts,ensurethattheoriginalwordsofauthorsare used(selectively),aswellasparaphrasedtomovetheplotalong.Asforstorytellerswith disabilities,Kobayashineedsaconsistentscriptthatshecanmemorise,whereasdeMierre excelsatextemporisingtoincorporatethechallengesofheraudience.
Participationandresponse
Mostofthechapterscoverstrategiesfortelling to childrenandadultswithdisabilitiesbut theyallinsistonactiveresponse by individualsintheprocess,andconsiderengagementas fundamental.Somehaveamoreexplicitfocusonthedevelopmentofnarrativeskills, movingtowardsindependentnarration(telling by)andforotherstelling with isacritical outcome.Inallcases,theconcernistodevelopthepotentialoftheindividualsinvolvedin thestorytelling.Themaindimensionsoflearninganddevelopmentare emotionalandsocial (whatmightbetermedtherapeuticorrelational); cognitiveandlinguistic (educational/psychological); creative (artspractice); communityparticipation;leisure/enjoyment and, finally, empowerment.Insomeapproachesthereisoneparticularfocus;inothersthepurposesare intertwinedandinseparable.WecanallagreewithAlidaGersie(Gersie&King,1990)that itismostimportantforeyestolightupandtobuildconfidenceandresilience.
Culturalfactors
Intheworldoforalstorytelling,culturalstylesandculturalownershiparehotlydisputed topics.Howwecanauthenticallytellstoriesfromothertraditionsthanourownposesreal ethicalproblems.Manyofthetalesthatarecirculatingreadilyinpublishedbooksweretaken downby(largelywhite,Western)anthropologists,tidiedupanddivorcedfromtheiroriginal sacredorritualcontexts.
Withinourculturethere’sanumberofcategoriesofstories:publicstories,sacredstories,sacredsecretstories,men’sandwomen’sstories.Awomancannottellaman’sstory toagroupofmenandmencannottellwomen’sstories – Idon’tknowthemen’s stories Ionlyknowthefemale,thepublic,thewomen’sandsacredstories – stories justforwomen.
(PaulineMcLeod,Aboriginalstoryteller,interviewedin1998 byHelenMcKayfor TellingTales8)
EricMaddern,anexperiencedstorytellerandtraveller,putsthechallengeheadon:
BywhatrightdostorytellerstellstoriesfromAfrica,NativeAmerica,AboriginalAustralia andothersimilarcultures?Isn’tappropriatingandtellingthesepeoples’ storiesanextension ofcolonialism?Westoletheirlandsandlivelihoods;wedecimatedtheircultures;wevirtuallydrovethemtoextinction.Nowwewanttotelltheirstories.Isn’tthisjustthelatest stageofcolonialtheft?It’snotsurprisingthatsomesurvivorsfromsuchculturesthinkso.9
Soweneedtobeculturallysensitiveinchoosingthestorieswetell.Wealsoneedtobe awareofculturalvariationasweseektodeveloporalskillsoftelling,whichcandifferconsiderablybetweenethnictraditionsandlanguagebackgrounds,andwithindifferentgenres ofstory.Inparticulartherearemarkedculturalinfluencesonstylesofnarratingpersonal experiences.
Westby(2020)characterisedsomefundamentaldifferencesbetweenculturesthatmap broadlyontoEasternandWesterntraditions. Collective culturesprivilegeinterdependence, sharedresponsibilityandrelationships,withgroupgoalsprioritisedoverindividualgoals. Expressionofemotionsatahighlevelofarousalisdiscouraged,and ‘lowarousal’ feelingssuch ascalmness,serenityandpeacefulnessarevalued.Narrativesfocusmoreonothers,oncontext, socialengagementandmoralcorrectness,descriptionofaneventisoftengeneralised.Children fromcultureswhichvaluelowarousalmayresistexpressingfeelingsdirectly. Individualistic culturesfocusmoreontheself,autonomy,personalevaluationsanddetaileddescription.High arousalfeelingsarevalued,suchasdrama,suspense,excitementandadventure.
ComparativeresearchfromtheUSAdemonstratestheseriousconsequencesofmismatches betweentheexpectationsofteachersandtheexperiencesofpupils(Dickinson,1991;Heath, 1982;Michaels,1981;McCabe&Bliss,2003).Forexample,VernonFeagansandcoresearchers(2002)showedthatdespitehavingsuperiorskillsinvocabularyandnarrative,the storytellingabilitiesofAfricanAmericanboysfromlow-incomefamilieswere negatively associatedwithliteracyandeducationaloutcomes,probablybecausetheirelaborated,sophisticated retellingsdidnotconformtothesimpleandstraightforwardparaphrasesthattheirteachers required.McCabe(2020)characteriseddifferentstylesoftelling:
EuropeanAmerican:tellingsingleeventsinsequence,atmediumlength,emphasising adherencetofacts,goalsandresolutions.
JapaneseandChinese:succinctness,toldinbriefturns,inclusionoftwoormoresimilar experiencesinsamenarrative.ShereportsthatChinesechildren’sstoriesoftenended withoutresolution – whichcertainlyinaWesternschoolcontextwouldleadthemtobe judgedincomplete.
AfricanAmerican childrenmayincludeseveralexperienceswithinonestory;narratives areembellishedandperformed.
Latinate storiesfocusontheimportanceofsocialnetworksandtendtobeembeddedin conversationratherthannarratedaslinearmonologues.
Haitian narrativesarehighlydescriptive,showinganemphasisonpoetic,repetitive, parallelstructuresratherthanoverlyconcernedwithplotsorinternalgoals.
Manycontributorshaveworkedsuccessfullywithchildrenandadultsfromawiderangeof culturalbackgrounds,buttherestillremainsagreatdealtoresearchandlearnaboutindigenoustraditionsandwhattheycanteachus.10 SpencerandPetersen(2020)stressthe
importanceofequippingyoungpeoplewiththeskillsthatarerequiredtosucceedinthe societywheretheyaregrowingup,notreplacingtheirowntraditions,butthroughcodeswitching;however,theevidenceshowshoweasyitistosuppressratherthancelebrate culturaldiversityinthiscontext.
Whatelse?
Thefocusofthisbookistheprocessoflive,dynamic,face-to-facestorytelling.Thereareother importantwaysoftellingstoriesthatarenotcoveredhere.Life-historywork(Atkinsonetal., 2010;Salman,2020)isadistinctdisciplinewithindisabilitystudieswhichisassumingincreasing importanceaspeoplestarttotakecontroloftheirownlivesandtheirownbiographies.Books writtenforpeoplewithlearningdisabilities,toexplainsituationsisaspecialityofthecharity BooksBeyondWords.11 NextChapterBookclubsenablepeoplewithseverecommunicationdisabilitiestoenjoymanydifferentbookgenres. 12 Inthese fi elds,theemphasistendsto beonreading – ontestimoniesastranscribedtexts,andonthebooksaswaysoftransmitting information,ratherthanontheprocessoforaltelling.Onehastodrawboundariessomewhere – thisbookcouldhavebecomeanever-endingstory,suchisthereachofnarrative intoourlives.
Andwealllived …
ThereisaSenecalegendabouthowstoriescameintotheworld.13 Amagicstoryrocktells talestoawholecommunitywhocometolisten,butthencommandsthepeopletogoout andtellforthemselves.InthewordsofBrianMarshall,afoundermemberofOpenstorytellers, ‘Weallhavestories,don’twe?’ Butmanypeoplelackavoicetotell,solet’s enableeveryonetobeheardandeveryonetoenjoythepowerofstory.
Inconclusion,weallhopethatthisbookwillprovearesourceforreaderstodeveloptheir owncreativepractice.Thereareasmanystoriesastherearestarsinthesky – andasmany waysoftelling.
Thecreationmythisthestorythatenactsthecreativepowerofstories,themanynarrativesthataregoingoninusallthetime,andinwhichwelive.Scheherazade,herselfa story,tellstalestoyounon-stoptokeepyouawake,andtherebysavesyourlifeaswell asherown.
(Cupitt,1991:55)
Notes
1 https://www.disabled-world.com/disability/statistics/;https://nces.ed.gov/programs/coe/indica tor_cgg.asp(Accessed27.4.2021).
2 www.bercow10yearson.com/wp-content/uploads/2018/03/337644-ICAN-Bercow-Report-WEB. pdf(Accessed27.4.21).
3 https://reliefweb.int/report/world/covid-19-and-its-impact-persons-disabilities(Accessed15.5.21).
4 www.sfs.org.uk(Accessed1.5.21).
5 https://www.storymuseum.org.uk(Accessed1.5.21).
6 Seehttps://www.talk4writing.com(Accessed27.4.21).
7 ThankstoProfessorJohnClibbens,UniversityofEssex,forthisrecommendation.
8 https://australianstorytelling.org.au/interviews/pauline-mcleod-nsw-aboriginal-perspective(Accessed1.5.21).
9 https://mechanicaldolphin.com/tag/eric-maddern(Accessed1.5.21).
10 www.marilynkinsella.org(Accessed1.5.21).Adviceontellingstoriesfromdifferentcultures.
11 https://booksbeyondwords.co.uk(Accessed27.4.21).
12 https://www.nextchapterbookclub.org(Accessed1.5.21).
13 www.firstpeople.us/FP-Html-Legends/The-Origin-Of-Stories-Seneca.html(Accessed27.4.21).
References
Allen,M.,Kertoy,M.,Sherblom,J.&Pettit,J.(1994).Children’snarrativeproductions:Acomparisonofpersonaleventand fictionalstories. AppliedPsycholinguistics,15,149–176.
APPG:AllPartyParliamentaryGroupforSpecialNeeds&Disabilities(2021a).Forgotten,leftbehind, overlooked.Theexperiencesofyoungpeopleandtheireducationaltransitionsduringthe COVID19pandemicin2020.Availableat:https://www.naht.org.uk/about-us/organisations-wesupport/all-party-parliamentary-group-on-send(Accessed6.5.21).
APPG:OracyAllPartyParliamentaryGroup(2021b).Speakforchange:Executivesummary.Availableat:https://oracy.inparliament.uk/sites/oracy.inparliament.uk/ fi les/2021-04/Executive%20 Summary-Oracy%20APPG%20 fi nal%20report.pdf(Accessed4.5.21). Atkinson,D.,Holland,C.,Humber,L.,Ingham,N.,Ledger,S.&Tilley,E.(2010). Developinga ‘livingarchive’ oflearningdisabilitylifestories:Projectreport.MiltonKeynes:OpenUniversity Press.
Auza,A.,TowleHarmon,B.&Murata,C.(2018).Retellingstories:GrammaticalandlexicalmeasuresforidentifyingmonolingualSpanishspeakingchildrenwithspeci ficlanguageimpairment (SLI). JournalofCommunicationDisorders,71,52–60. Bamberg,M.(1997). Narrativedevelopment:Sixapproaches.Mahwah,NJ:LEA. Boudreau,D.M.(2007).Narrativeabilitiesinchildrenwithlanguageimpairments.InR.Paul(Ed.), Languagedisordersfromadevelopmentalperspective (pp.331–356).Mahwah,NJ:LEA. Brinton,B.&Fujiki,M.(2017).Thepowerofstories:Facilitatingsocialcommunicationinchildren withlimitedlanguageabilities. SchoolPsychologyInternational,38,523–540. Brown,D.Brown,E.,Lewis,C.&Lamb,M.(2018).Narrativeskillandtestimonialaccuracyin typicallydevelopingchildrenandthosewithintellectualdisabilities. AppliedCognitivePsychology, 32,550–560.
Cupitt,D.(1991). Whatisastory? Norwich:SCMPress. Curenton,S.,JonesCraig,M.&Flanagan,N.(2008).Useofdecontextualizedtalkacrossstory contexts:Howoralstorytellingandemergentreadingcanscaffoldchildren’sdevelopment. Early Education&Development,19,161–187. Dickinson,C.(1991).Teachingagendaandsetting:Constraintsonconversationinpreschools.InA. McCabe&C.Petersen(Eds), Developingnarrativestructure (pp.255–303).Hillsdale,NJ:LawrenceErlbaumAssociates.
Dodwell,K.&Bavin,E.(2008).Childrenwithspeci fi clanguageimpairment:Aninvestigationof theirnarrativesandmemory. InternationalJournalofLanguage&CommunicationDisorders ,43, 201– 218.
Duinmeijer,J.,DeJong,J.Scheper,A.(2012).Narrativeabilities,memoryandattentioninchildren withaspeci ficlanguageimpairment. InternationalJournalofLanguage&CommunicationDisorders,47,542–555. Empson,W.(1930) Seventypesofambiguity:AstudyofitseffectsonEnglishverse.London:Chatto& Windus.
Favot,K.,Carter,M.&Stephenson,J.(2020).Theeffectsoforalnarrativeinterventiononthenarrativesofchildrenwithlanguagedisorder:Asystematicliteraturereview. JournalofDevelopmental andPhysicalDisabilities.doi:10.1007/s10882–10020–09763–09769(Accessed27.4.21).
Fichmana,S.&Altman,C.(2019).Referentialcohesioninthenarrativesofbilingualandmonolingual childrenwithtypicallydevelopinglanguageandwithspecificlanguageimpairment. Journalof Speech,Language&HearingResearch,62,123–142.
Fox,C.(1993). Attheveryedgeoftheforest:Theinfluenceofliteratureonstorytellingbychildren. London:Cassell.
Gersie,A.&King,N.(1990). Storymakingineducationandtherapy.London:JKP.
Griffin,T.,Hemphill,L.,Camp,L.&Wolf,D.(2004)Oraldiscourseinthepreschoolyearsandlater literacyskills. FirstLanguage,24,123–147.
Haven,K.(2007). Storyproof:Thesciencebehindthestartlingpowerofstory.Westport,CT:GreenwoodPublishing.
Heath,S.B.(1982).Whatnobedtimestorymeans:Narrativeskillsathomeandschool. Languagein Society,11,49–76.
Hessling,A.&Brimo,D.(2019).Spoken fictionalnarrativeandliteracyskillsofchildrenwithDown syndrome. JournalofCommunicationDisorders,79,76–89.
Hibbin,R.(2016)Thepsychosocialbenefitsoforalstorytellinginschool:Developingidentityand empathythroughnarrative. PastoralCareinEducation,34,218–231.
Hudson,J.&Shapiro,L.(1991).Fromknowingtotelling:Thedevelopmentofchildren’sscripts, storiesandpersonalnarratives.InA.McCabe&C.Petersen(Eds), Developingnarrativestructure (pp.89–136).Hillsdale,NJ:LawrenceErlbaumAssociates. ICAN/RCSLT.(2018). Bercow:Tenyearson.Availableat:www.bercow10yearson.com/wp-content/ uploads/2018/03/337644-ICAN-Bercow-Report-WEB.pdf.
Kuijper,S.,Hartman,C.,Bogaerds-Hazenberg,S.&Hendriks,P.(2017).Narrativeproductionin childrenwithautismspectrumdisorder(ASD)andchildrenwithattention-de ficit/hyperactivity disorder(ADHD):Similaritiesanddifferences. JournalofAbnormalPsychology,126(1),63–75. Lenhart,J.,Lenhard,W.,Vaahtoranta,E.&Suggate,S.(2020).Morethanwords:Narratorengagementduringstorytellingincreaseschildren’swordlearning,storycomprehension,andon-task behavior. EarlyChildhoodResearchQuarterly,51,338–351.
McCabe,A.(2020).Workingwiththegrain:Appreciatingrichnarrativetraditionsfromdiversecultures.Paperpresentedat ASHAWebinarSeries,PersonalNarrativesacrossDiverseCultures,Rockville,MD,3–7August.
McCabe,A.&Bliss,L.(2003). Patternsofnarrativediscourse:Amulticulturallifespanapproach Boston,MA:PearsonEducation.
McCabe,A.,Bliss,L.,Barra,G.&Bennett,M.(2008).Comparisonofpersonalversus fictionalnarrativesofchildrenwithlanguageimpairment. AmericanJournalofSpeech-LanguagePathology,17, 194–206.
Melzi,G.,&Caspe,M.(2008).Researchapproachestonarrative,literacy,andeducation.InN. Hornberger(Ed.), Encyclopediaoflanguageandeducation (2nded.,Vol. 10,pp.151–164).New York:Springer.
Michaels,S.(1981). ‘Sharingtime’:Children’snarrativestylesanddifferentialaccesstoliteracy. LanguageinSociety,10,423–442.
Norbury,C.F.&Bishop,D.V.M.(2002).Inferentialprocessingandstoryrecallinchildrenwith communicationproblems:Acomparisonofspeci ficlanguageimpairment,pragmaticlanguage impairmentandhigh-functioningautism. InternationalJournalofLanguage&Communication Disorders,37,227–251.
Reese,E.,Suggate,S.,Long,J.&Schaughency,E.(2010).Children’soralnarrativeandreadingskills inthe first3yearsofreadinginstruction. ReadingandWriting,23,627–644. Reese,E.,Yan,C.,Jack,F.&Hayne,H.(2010).Emergingidentities:Narrativeandselffromearly childhoodtoearlyadolescence.InK.McLean&M.Pasupathi(Eds), Narrativedevelopmentin adolescence:Creatingthestoriedself (pp.23–43).NewYork:Springer. Salman,S.(2020). Madepossible:Storiesofsuccessbypeoplewithlearningdisabilitiesintheirownwords. London:Unbound.
Schank,R.C.&Abelson,R.(1977). Scripts,plans,goals,andunderstanding.Hillsdale,NJ:Lawrence ErlbaumAssociates.
Schauer,M.,Neuner,F.&Elbert,T.(2017).Narrativeexposuretherapyforchildrenandadolescents (KIDNET).InM.A.Landolt,M.Cloitre&U.Schnyder(Eds), Evidence-basedtreatmentsfor traumarelateddisordersinchildrenandadolescents (pp.227–249).ParanaqueCity,MetroManila: SpringerInternational.
Snow,C.,Burns,S.&Griffin,P.(1998). Preventingreadingdifficultiesinyoungchildren.Washington,DC:NationalAcademyPress.
Spencer,T.&Petersen,D.(2020).Narrativeintervention:Principlestopractice. Language,Speech, andHearingServicesinSchools,51,1081–1096.
Sutton-Spence,R.&Kaneko,M.(2016). Introducingsignlanguageliterature:Creativityandfolklore. Basingstoke:PalgravePress.
Vanaken,L.,Bijttebier,P.,Fivush,R.&Hermans,D.(2021)Narrativecoherencepredictsemotional well-beingduringtheCOVID-19pandemic:Atwo-yearlongitudinalstudy. CognitionandEmotion.doi:10.1080/02699931.2021.1902283(Accessed27.4.21).
VanPuyenbroeck,J.&Maes,B.(2008).Areviewofcritical,person‐centredandclinicalapproaches toreminiscenceworkforpeoplewithintellectualdisabilities. InternationalJournalofDisability, DevelopmentandEducation,55,43–60.
VernonFeagans,L.,ScheffnerHammer,C.,Miccio,A.&Manlove,E.(2002).Earlylanguageand literacyskillsinlowincomeAfricanAmericanandHispanicchildren.InS.Neumann&D.Dickinson(Eds), Handbookofearlyliteracyresearch (pp.192–210).NewYork:GuilfordPress.
Westerveld,M.F.&Gillon,G.T.(2010).Oralnarrativecontexteffectsonpoorreaders’ spoken languageperformance:Storyretelling,storygeneration,andpersonalnarratives. International JournalofSpeech-LanguagePathology,12(2),132–141.
Westby,C.(2020). Tellingourstories:Developingculturalidentity.PaperpresentedatASHAWebinar Series,PersonalNarrativesacrossDiverseCultures,Rockville,MD,3–7August.
Therapeuticstorytellingwithchildren inneed
JanetDowling
Background
Iuse ‘therapeuticstorytelling’ asatermtodescribetellingarangeofstoriesthatareusedtohelp listenersexploremetaphorsthatenablethemtoexperienceachangeinperceptionabout themselvesandtheirsituation.Thesemetaphorsareawayofdescribingsomethingasifitis somethingelse.So,forexample,ifsomeonewereveryshy,ametaphorforshynesscouldbea hedgehogthathaslostitsmirrorandislookingforit.Thestoryoflookingforit, findinghelp alongthewayandeventually findingitwouldbeametaphorfordealingwithandovercoming shyness.Thetellingispurposeful,targetedandintendedtosupportanddevelopthelistener regardlessoftheirlevelofcognitivefunctioning.Thecontentisimportant,butsotooarethe waysinwhichthestoryistoldandthemultisensoryelementsthatarebroughtintothestorytelling.Allhaveanimpactonthelistenerataconsciousandunconsciouslevel.Anarrativeisa retellingofasequenceofeventsasastatementandhistoryofthoseevents.Astoryexploresthe emotionalandsensorycomponentsandrelationshipsofthoseevents.
Theoriesandprinciples
Storytellingasatherapeuticprocessiswelldocumented(Dent-Brown&Wang,2006; Gersie&King,1989;Gersie,1992;Lawley&Tompkins,2000).Lahad(1992)suggested thatusingmetaphorandstorytellingwithpeoplewithpost-traumaticstress,forexample, enablesthemtoaddresstheemotionalcontentoftheirexperiencewithouthavingtorelive theactualtraumaticmoment.
Attachmenttheoryisanimportantfoundationoftheprocess.Thisemphasisestheneedin earlychildhoodforrelationshipsthatprovidesecurityandcomfortontheonehandandthe scopeforexcitementandexplorationontheother(Bowlby,2011).Tellingandlisteningto storiesisonewaythatlistenerscanbeincomfortableandsecuresettingswhilstexploring andexperiencingexcitementthroughtheirimaginationsinshort,time-limited,self-containedsettings.Storiesallowtheexplorationoffrighteningthings – toexperiencethefear andelation,thetensionandtherelease,thejoyandthesadness(Bettelheim,1976).Stories alsoallowthelearningofsocialnormsandthedevelopmentofemotionalliteracy(Killick& Thomas,2007;Killick2018,Killick&Okwedy2020),andbringthepromiseofhope – that thistooshallpass,somethingwillhappentoputrightthebadthingsthathavehappened, butalsothatifat firstyoudon’tsucceed,try,try,tryagain.
Otherresearchthathascontributedtothedevelopmentoftherapeuticstorytellingcomes fromneuroscience.Sunderland(2001,2003)discusseshow ‘fearkillsplayandcanblockthe
DOI:10.4324/9781003159087-1
Another random document with no related content on Scribd:
1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:
• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other
medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGESExcept for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH
1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS
OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project
Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a nonprofit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form
accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.
Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.
Most people start at our website which has the main PG search facility: www.gutenberg.org.
This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.