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THE IMPORTANCE of BINARY OPPOSITES Allan Foster

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THE IMPORTANCE of BINARY OPPOSITES Allan Foster NATURE STORYTELLING: THE IMPORTANCE OF BINARY OPPOSITES Allan Foster A thesis submitted in conformity with the requirements for the degree of Doctor of Education, Department of Adult Education, Community Development & Counselling Psychology, Ontario lnstitute for Studies in Education of the University of Toronto Copyright by Allan Foster (2000) National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Weliii-+ton Street 395. rue Welm OttawaON KtAW O(tawaON K1AW canada canada The author has granted a non- L'auteur a accordé une Licence non exclusive Licence dowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seii reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substanttial extracts fkom it Ni la thése ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. NATURE STORYTELLING: THE IMPORTANCE OF BINARY OPPOSlTES Allan Foster, Doctor of Education. 2000 Department of Adult Education, Community Development & Counseliing Psychology University of Toronto ABSTRACT The purpose of this study is to explore the effect of binary structuring in storytelling when used as a teaching strategy for adult environmental education. This investigation builds on curriculum theory where binary structuring is used to design curriculum for young children (Egan, 1986). A field test provides an experience that people are invited to participate in and comment upon. A number of major findings ernerged from the study: - Participants recognize the change-event and associated binary opposites in an oral story - Adult and children groups identify the same scene as representing the change-event and binary opposites in an oral story - Curriculum for adult learning may be based on a story structured on binary opposites - Participants are able to express the meaning of a story in words, drama form and in artwork. Many of the findings frorn this study support the existing story/curriculum literature for young children. The findings may extend this theory into the realm of adult education. The research supports Egan's (1 986) work while offering suggestions for researching how people find meaning that has not previously been reported in the literature. For example, using tableau as a way of determining what a story means is a new technique. Some of the data has been collected using a quantitative method, a procedure not previously employed on this topic. This study validates adult educators who use stories in their practice. It may encourage adult educators to research further uses of stories in adult education. iii Acknowledgments There are many people to thank: Jack Quarter, thesis advisor, who patiently, kindly and quickly gave me feedback and direction. David Booth and Susan Drake who shared so much about stories and story structure. Tahani Gadalla who suggested how to design an expriment and count things in order to make sense. Carole Carpenter, my external examiner, who gave me a magic rock for good luck. My colleagues at the Kortright Centre who shared in the excitement of the research and helped me every way they could. My employer, the Toronto Region Conservation Authority, for making it possible to do this study. The 1000 children and adults who so readily joined me on a nature hike, Iistened to the stories, played the tableau game, answered my questions, created illustrations, gave suggestions and made this research project so much fun. Dedication To Ken Strasser who was the greatest nature storyteller who ever lived and would have got the biggest kick from reading this thesis. To Aunt Jean Elder who let me park my car in her drivewsy while I was at class - but only if I came in later and told her what I had learned. To my parents, Jean and Russel Foster who filled my youth with nature lore - facts and fiction. I cannot walk past a wintergreen leaf without remembering the first time they encouraged me to taste one. They taught me that education can be an adventure. To my wife, Leslie, who selflessly encourages me in everything I do. I get a hug when I get it right and when I get it wrong. To our three children, Emily, Andrew and Kevin, who taught me how to explore the natural world through wonder and the multiple intelligences. They make me proud every day and have already begun making a difference. Table of Contents Abstract Acknowledgments Dedication Chapter 1 - Introduction Story and storytelling The research questions The importance of stories in our lives Chapter 2 - Binary opposites in storytelling Binary opposites and change-event Binary opposites shape stories Premise Character Conflict Conclusion Chapter 3 - The uses of storytelling in the classroom Storytelling to build community Storytelling teaches active listening Storytelling as entertainment Storytelling provides models for living Storytelling as art Storytelling as a framework for curriculum Egan's theory put into practice Conclusion Chapter 4 - Adult education through storytelling Storytelling in business planning Storytelling in religious teaching Understanding yourself through your own story Storytelling as therapy Conclusion Chapter 5 - Method Rationale Research approach Field experiment lnterviewing method Chapter 6 - The 5 key stories The loon, nspberry and bat Jack Frost and the magic paint pot The owl and the rabbits Circe and the enchanter's nightshade The cardinal Why I chose these stories Chapter 7 - Quantitative Results and Photo Data 159 Photo record - The loon, raspberry and bat 166 Photo record - Jack Frost and the rnagic paint pot 167 Photo record - The owl and the rabbits 1 68 Photo record - Circe and the enchanter's nightshade 169 Photo record - The cardinal 1 70 Chapter 8 - Interview Data and Analysis Story memory Participant learning Adult education and storytelling Retelling stories through tableau Retelling stories through artwork Chapter 9 - Discussion Explanation Adult curriculum design model Application of the findings Limitations and future research Conclusion Bibliography 253 Appendix 1 - The 1998 Ontario curriculum for grade 4 266 2 - Enrichment activities suggested to grade 4 teachen 273 3 - Learning expectations 275 4 - consent form for adult participants 276 5 - interview - guiding questions 277 6 - Nature storytelling workshop 281 Tables 1 Agreement between judges 2 The findings 3 Jack Frost story 4 Owl story 5 Cardinal story 6 Loon stofy 7 Circe story Figures 1 Change-event - Loon story 2 Change-event - Groundhog story 3 Change-event - Owl story 4 Change-event - Circe story 5 Change-event - Cardinal story 6 Change-event - General rnodel 7 Change-event - example Illustrations 1 Loon story 2 Loon story 3 Loon story 4 Groundhog story 5 Groundhog story 6 Owl story 7 Owl story 8 Circe story 9 Circestory 10 Circe story 11 Circe story 12 Circe story 13 Circe story 14 Cardinal story 15 Cardinal story 16 Cardinal story viii Cha~ter1 Introduction Research historians failed in their attempts to make bread from fifteenth century recipes until they realized that the key ingredient was never listed. This was because al1 the ancient bakers knew that the missing ingredient was so basic that everyone concemed would already know about it and consequently they never mentioned it. The unlisted ingredient was yeast (Robinson, 199 5). The yeast, or essential ingredient in a story, is the change-event which moves a crucial hurnan issue for one or more of the characters from one binary opposite to the other. The change-event is the part missing when a joke falls Rat or a story about an experience leaves the Iistener wondering, "So what?" Sorne people who tell stories miss the key ingredient. This is because to someone who listens to or tells stories regularly, story structure seems obvious and intuitive. A new or beginning storyteller needs to be reminded that the change-event and related binary opposites are the key ingredients to a story. This is particularly important to anyone wishing to use a stoiy to frame educational content. This study about story structure is the outcome of more than 25 years of working with children, teachers, storytellers, parents and educators in an outdoor setting. The study explored how adults and children are engaged by stories and how the change-event and its associated binary opposites, the main structuring elements of stories, can be used to present educational content to people of al1 ages. It is my ambition to use this information to enhance my work with pre- service and in-service environmental educators who do not consider themselves to be storytellen. I hope to help them learn how to increase their effectiveness as environmental educators through nature storytelling. By considering the importance of story structure, they will be able to craft and tell more meaningful stories. During the process of this research, I had the privilege of working with two groups: - grade 4 students and their teachers, both at the Kortright Centre and in their classrooms; - adults, attending nature programs at the Kortright Ceitre. These participants generously Iistened to my stories, granted personal interviews, retold the stories in a drama or art form and permitted me to incorporate their photographs, artwork and thoughts into the study. Story and Stor~tellinqDefined A story is a factual or fictional description of an event in which one or more characters go through a change in some crucial human issue. It is an account of an incident or series of events (Oxford Dictionary).
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