Using folklore as an alternative medium of teaching grammar and culture

Herwindy Maria Tedjaatmadja Henny Putri Saking Wijaya Petra Christian University, Surabaya

Abstract One of the most boring subjects in EFL classes is grammar. Many complaints about how students can only work on intensive grammar exercises without knowing their functions in daily life have been heard. As teachers, we are always in search of the most suitable method to teach grammar. One of the most successful techniques in grammar teaching is to put grammar in a meaningful context. Folklore, taking forms of myths, fables and fairy tales, can help students to improve accuracy in grammatical structures as well as to enrich students with better understanding of culture. The interactive activities proposed in this paper aim to help teachers develop not only the students’ grammatical knowledge but also their cultural awareness.

I. Introduction Grammar has been notorious for its collection static system of boring and meaningless forms. Many prejudices about how boring and static grammar teaching could have been made. Many questions about why students can get good scores in grammar exercises (even they have learnt it diligently) without being able to use the grammar in the appropriate context have also been raised. As teachers, we are always in search of the most suitable method to teach grammar. One of the most successful techniques in grammar teaching is to put grammar in a meaningful context because grammar does not stand alone, it embodies the three interdependent dimensions of form, meaning, and use. Grammar helps speakers or writers to express their messages, ideas or information more accurately. Therefore, instead of viewing grammar as a static system of arbitrary rules, it should be seen as a dynamic system that consists of structures embodied by form, meaning, and use (Larsen-Freeman, 1997). “How you say it is as important as what you say” is true because what and how you teach will make big differences. Various types of materials such as music, novels, poems and so forth are well exploited whereas little attention is given to folklore which is also capable of providing rich source of English input and more importantly, knowledge and values. Folklore, taking forms of myths, fables and fairy tales, can help students to improve accuracy in grammatical structures as well as to enrich students with better understanding of culture. However, it is not easy to explore these materials due to confusion about what folklore is, and which variety to be used, not to mention possible drawbacks of using folklore. Therefore, a glance of grammar and culture teaching, definition of folklore, potential advantages and disadvantages of their use are presented before proposing some activities to teach grammar and culture. The interactive activities proposed in this paper aim to help teachers develop not only the students’ grammatical knowledge but also their cultural awareness.

1 II. Teaching Grammar and Culture: Is it Possible? Language and culture are two inseparable subjects. Before going deeper into studying any topic, it is good to have a same perception about particular terms. Culture is ‘a general process of intellectual, spiritual and aesthetic development’, or ‘a particular way of life, whether of a people, a period or a group’ or ‘the works and practices of intellectual and especially artistic activity’ (Williams, cited in Storey, 1993: 2). From these definitions, it is obvious that language is one among other products of cultures. Language represents how certain group thinks, for example, the use of various tenses in English indicates that English emphasizes the importance of time whereas the different use of Javanese (ngoko, krama madya, and krama inggil) signifies the social status (Mulyana, 2000: vi) Theoretically, as a part of language, grammar is the way language is organized and patterned, to make meanings in communication (Derewianka, 2001 and Thornbury, 2004). In light of this, language without grammar will make words seems like pieces of jigsaw. “Bananas eat I”, for example, will make no meaning, unless we add grammar to be “I eat bananas”. Furthermore, grammar can provide more information about speakers’ background, such as reflecting social distance or intimacy (Batstone, 1994). “Lend me your books” and “Could you lend me your books, please?” reflect two different social distances. It is assumed that the first sentence is possibly spoken between two close friends and the next occurs between two strangers. Although grammatical proficiency is no longer considered the most significant point in language learning, it is still essential for some reasons (Thornbury, 2004). First, it is a way to reduce ambiguity. The purposes of saying “I went to Bangkok” and “I will go to Bangkok” are different, as the Simple Past Tense used in the first sentence gives a hint that the action is a past experience whereas the second sentence is a plan. In other words, grammar helps to make the meaning more clearly. The next reason is its social function; meaning that grammar can distinguish the speakers’ background. If people want to be accepted as a member of educated, native-speaker-like community, grammar accuracy and fluency can be very important. Last, grammar has a psychometric function, as one of the tools to measure proficiency, such as to pass examinations. However, the way grammar is learnt will determine whether grammar is something boring, complicated or meaningful. Some teachers emphasize accuracy while some others, fluency; however, both of them are equally important. Grammar without opportunities to use the language for meaningful interaction will be “dead and boring”; whereas, the fluent use of grammar without accuracy can lead to “fossilization.” Here, methods and materials play important roles in achieving accuracy and fluency. Grammar can be taught through deductive explanation, controlled practice or meaningful practice depending on various factors, especially learners’ background and preferences (Harmer, 2004). According to Harmer (1987), it is worth of consideration for teachers to make grammar class clear, efficient, lively, appropriate and productive. Since all learners have different learning preferences, teachers have to expose them to various teaching techniques to cater to all of their needs. Fortunately, folklore can provide enough space for accuracy and fluency to develop as well as for deductive and inductive teaching methods. More interestingly, teachers can introduce or discuss about cultures and values while teaching grammar (Maglioco). The following section will define what folklore is.

2 III. Definition of folklore Many people are familiar with the term “folklore” without knowing what it is. It is hard to define since some people often misunderstand it as one form of literary work. The word “folklore” comes from two words, “folk” which means “collectivity” or “a group of people with similar culture” and “lore” which means “folk tradition” (Danandjaja, 1984). Brunvand (cited in Danandjaja, 1984: 2) defines folklore as “those materials in culture that circulate traditionally among members of any group in different version, whether in oral or by means of customary example”. A famous American folklorist, Archer Taylor, defines folklore as materials handed on by tradition, either by word of mouth or by custom and practices (Morain). As a part of culture, folklore is commonly recognized as “literature orally transmitted” although it actually includes the arts, beliefs and so on (Utley, 1968). Authors of folklore are usually anonymous because it is transmitted (Danandjaja, 1984). Moreover, it is difficult to determine the origin of most folklore since there can be various references to other cultures in one folklore (Dundes, 1968). Although folklore is possibly as old as human civilization, the concept of folklore developed in the eighteenth and nineteenth century (Greenia, 2007 and http://en.wikipedia.org/wiki/Folklore). The systematic folklore studies were introduced in 1878 by the London Folklore Society, although the word “folk-lore” was initially mentioned by the British archaeologist William J. Thomas in a letter published by the London Journal Athenaeum in 1846 (Greenia, 2007). In general, folklore can come in various forms: myths, fables, legends, proverbs, jokes and so forth (Goldstein, 1968). From the definitions above, it can be concluded that folklore is a potential source for teaching grammar and cultures. The following section will discuss about the advantages and disadvantages of using folklore in teaching grammar and cultures.

IV. Why folklore? There are several justifications of using folklore in teaching grammar and culture. 1. Folklore can be found everywhere in various forms (Danandjaja, 1984 and Greenia, 2007). Every culture has various kinds of folklore such as fables, riddles or songs which provide a vast array of source for teaching material. Some of them have been made or adapted into dramas, movies or novels which have added its popularity. Therefore, it is easy for teachers to find folklore.

2. Folklore contains universal values and plots (Danandjaja, 1984 and Hanlon, 1999). Although each culture has its particular folklore, it is fascinating to recognize that there are some resemblances among certain folklore in different societies. “The Oedipus” in Greek folklore and Indonesian “Sangkuriang” share similar themes of a son who falls in love with his mother. Stories about human with animal ears or horns are also found in many cultures such as King Midas (Greece), The Goat's Ears of the Emperor Trojan (Serbia) and the Child with the Ears of an Ox (India). Therefore, students can compare and contrast those cultures, events or characteristics in these stories.

3 3. They are enjoyable but meaningful (Kononenko, 1998 and Hanlon, 1999). Folklore represents human experience, values, and history; thus it can provide both entertainment and opportunities for further discussion. It sets as an excellent example of the multifaceted mixture of history and fantasy. It can be analyzed in short essays as well as in more complicated research. Because of its universal values, similar plots and values, most people find it easy to remember folklore. In addition, because of its interrelatedness with other subjects, folklore can be linked with many subjects such as history, social studies, fine arts, and science (Greenia, 2007).

However; despite their advantages, there are some drawbacks of using folklore in grammar and culture teaching.

1. There might be some grammatical mistakes, vernacular or unfamiliar words (which can lead to confusion) because they might come from unfamiliar cultures. Certain jokes might sound perplexing because students might not comprehend the history or lifestyle of certain cultures. A joke like “Have you heard the latest Elephant Joke?” and “Barry Goldwater for President” will mean nothing if students do not know that Barry Goldwater is a President candidate who comes from a political party with an elephant as its symbol (Danandjaja, 2003: 187).

2. It is very possible that students can make prejudice or stereotypes about particular cultures. Some students might think that certain culture or society is weird, nonrealistic, mystical or pagan which can lead to racism (Dundes, 1968).

3. Some students might find folklore childish, nonrealistic or irrelevant to the modern era (Hanlon, 1999). They might associate folklore with childhood stories; thus, assuming that the content should be entertaining only for children.

4. Because folklore is “orally transmitted” from generation to generation, many variants might be created (Danandjaja, 1984). It means that different versions might be mixed up in both teachers’ and students’ heads when during the discussion. Therefore, it is suggested to mention which variety they use.

V. Practical Suggestions These are some possible activities to incorporate folklore in teaching. A. Activity 1 Teaching Point : Modals Function : To indicate obligation, ability and future action EFL level : Pre-intermediate Material : Appendix 1 (The Inquisitive Wife) Teaching method : Deductive method

Activities 1. T explains the use and forms of modals (must, can, will) 2. Ss make several sentences using the given modals

4 3. T asks Ss to read the excerpt of “The Inquisitive Wife” 4. T asks Ss to underline the modals used in the story. 5. T asks Ss to mention the values they have learnt from this story 6. T asks Ss to give some suggestions on how to live a better life using modals they have learnt (e.g. we must study diligently so that we will get a good grade. It is easy to do because we can go to the library or ask our teachers when we do not know about certain lessons).

B. Activity 2 Teaching Point : Present and Past Tenses Function : Describing past and present events EFL level : Intermediate Teaching method : Inductive method Material : Appendix 2 (Malin Kundang)

Activities 1. T asks Ss to mention the characteristics of a good son. 2. T tells Ss that they are going to read a passage about an ungrateful son, Malin Kundang. 3. T asks Ss to identify the grammatical mistakes in the use of Present and Past Tense in the passage 4. T asks Ss to formulate the grammatical patterns and uses. 5. T asks Ss to contrast the use of tenses. 6. T leads a discussion about the use of Present Tenses compared to Past Tenses. The focus of the discussion is about the different meaning arising from the use of the tenses. 7. T asks Ss to have a further discussion about: - Whether Malin Kundang’s mother did the right thing by asking God to punish her son. - The role of a mother in the societies.

C. Activity 3 Teaching Point : Comparative and Superlative Function : Comparing some characters in a story EFL level : Post-Intermediate Teaching method : Inductive method Material : Appendix 3 (Achilles, Hector and Agamemnon)

Activities 1. T asks Ss to mention some characters in Greek myths. 2. In a group of four, each group is assigned to read and discuss the similarities and differences between the characters. 3. T asks each group to present the result of their work 4. T leads the discussion about the similarities and differences among those characters.

5 5. T asks students to reflect on the characters and write down the lessons that they learn from the characters.

References

Batstone, R. (1994). Grammar. Oxford University Press. Coats, L and A. Lewis (2002). The Inquisitive Wife. In Coats, L and A. Lewis Atticus the Storyteller’s 100 Greek Myths. London: Orion Children’s Books Danandjaja, J. (1984). Folklore Indonesia Ilmu gosip, dongeng, dan lain-lain. Jakarta: PT Pustaka Utama Grafiti. Danandjaja, J. (2003). Folklor Amerika: Cermin Multikultural yang Manunggal. Jakarta: PT Pustaka Utama Grafiti. Derewianka, B. (2001). Pedagogical Grammars: Their Role in English Language Teaching. In Burns, A. and Coffin, C (eds.) Analyzing English in Global Context. New York: Routledge: 240-269. Dundes, A. (1968). Ways of Studying Folklore. In Tristram Coffin, III American Folklore (ed.). Voice of America: 41-50. Goldstein, K. S. (1968). Harvesting Folklore. In Tristram Coffin, III American Folklore (ed.). Voice of America: 27-39. Greenia, C (2007). A Folklore Approach to Teaching Spanish Exploratory Classes. http://www.yale.edu/ynhti/curriculum/units/1984/3/84.03.04.x.html. (Last retrieved on November 20, 2007) Hanlon, T. L (1999). General Guidelines for Teaching with Folk Tales, Fairy Tales, Fables, Ballads, and Other Short Works of Folklore http://www.ferrum.edu/applit/studyg/studygfolk.htm (Last retrieved on November 7th, 2007) Harmer, J. (1987). Teaching and Learning Grammar. Longman Group UK Limited. Harmer, J. (2001). The Practice of English Language Teaching. Essex: Pearson Education Limited. Kononenko, N. (1998). Report from the Lectern: Reflections on Over Twenty Years of Teaching Folklore Courses. Stories for the Young and Old. SEEFA Journal, Vol.III, No.2. http://www.arts.ualberta.ca/SEEFA/LECTERN.HTM (November 19th, 2007) Larsen-Freeman, D. (Series Director). (1993; 1997). Grammar dimensions: Form, meaning, and use. Boston: Heinle & Heinle. http://www.cal.org/resources/digest/larsen01.html (Last retrieved on November 7th, 2007) Maglioco, S. (n.d.). Folklore and Language Teaching: Preliminary Remarks and Practical Suggestions. http://links.jstor.org/sici?sici=0021-3020%28199224%2969%3 A4% 3C451%3 AFALTPR%3E2.0.CO%3B2-C&size=SMALL&origin=JSTOR-reduce Page (Last retrieved on November 7th, 2007) Morain, G. G. (n.d.). French Folklore: A Fresh Approach to the Teaching of Culture. http://links.jstor.org/sici?sici=0016-111X (196804) 41%3A5%3C675%3 AFFAFAT %3E2.0.CO%3B2-8 (Last retrieved on November 7th, 2007) Mulyana, D. (2000). Mengapa dan Untuk Apa Kita Mempelajari Komunikasi Antar

6 Budaya? In Mulyana, D and Rakhmat, J. (eds.) Komunikasi Antar Budaya. Bandung: PT Remaja Rosdakarya: v-xiii. Storey, J. (1993). An Introductory Guide to Cultural Theory and Popular Culture. Hertfordshire: John Storey. Thornbury, S. (2004). English Teaching essential Grammar. English Teaching Professional. Utley, F. L. (1968). A Definition of Foklore. In Tristram Coffin, III American Folklore (ed.) Voice of America: 3-14. http://www.virtualtourist.com/travel/Asia/Indonesia/West_Sumatra_Province/Padang- 1211504/Things_To_Do-Padang-BR-1.html (Last retrieved on November 12th, 2007) http://www.sparknotes.com/lit/iliad/canalysis.html (Last retrieved on November 12th, 2007) http://en.wikipedia.org/wiki/Folklore (Last retrieved on October 19, 2007)

Appendix 1 The Inquisitive Wife

Pandora was the most inquisitive woman on earth. She liked to ask questions and wanted to know other people’s business. Her husband, Epimetheus, was very patient. Because she was so beautiful and he loved her, he put up with her questions. One day, Pandora found a great jar in the corner of the attic. It was so heavy that she could not lift it. She ran down to her husband and asked him about what was inside the jar. Epimetheus went white and began to shake. He said “Wife! You must never touch that jar! My brother Prometheus gave it to me and he made me promise that it must never be opened or moved until the end of the world! Promise me that whatever you do, you will never touch that jar again!” So she promised, but then, her curiosity became stronger. She said “If I just have a little peek, it won’t do any harm!” Then, she sneaked up to the attic. She quickly took the lid off the jar and looked at it. What a horrible surprise she got when a lot of nasty looking insects flew out and started pricking her with their stings. She slammed the lid back on that at once, shutting inside the only creature that was left. She ran to her husband and tried to put the creatures back, but it was useless. Ever since Pandora opened that jar, envy, greed, anger, jealousy and all other evil things flew all over the world, stinging human beings. Only hope was left, and as long as hope is there, nothing in this world can ever be as bad as it seems.

Appendix 2 Malin Kundang

Malin Kundang is a famous Minangkabau folklore and the story is said to be originated in Padang where the remains of "Batu Malin Kundang" is located. This folklore is about a man named Malin Kundang who comes from a poor family. Just like any other Minang men, Malin Kundang decided to travel elsewhere to seek good fortune, leaving behind his old mother. His life changed when he marries the daughter of a rich man in Siam. Soon after achieving success and gaining great fortune, he sails back homeward on his own ship

7 to Padang together with his wife and crews. Upon hearing of Malin Kundang's return, his mother rushed to the beach to meet her long lost son. Unfortunately, Malin Kundang felt ashamed upon looking at his old and poor mother - he was a rich man with fine clothing and a beautiful wife while his mother was looking ragged and poor as she is. In his undisguised disgust, he is ignoring his mother, refused to greet her and is returning to his ship. Humiliated and heartbroken by her arrogant son's behavior, his mother fell to her knees in desperation and prayed to God asking that her son be punished for what he did. Soon a terrible storm rose up and Malin Kundang's ship was wrecked upon the rocks. Realizing his sin for ignoring his mother, the badly injured Malin Kundang tried to get ashore to seek forgiveness from his mother, but as he crawls on his hands and knees, he was suddenly turned into stone. Until today, a stone that from a certain angle resembled the figure of a man on his hands and knees with his head seemingly buried in the rock can still be found here in Pantai Air Manis. It is said that Malin Kundang has been forced to stay on the beach forever, begging for forgiveness from his mother. Around this rocky figure barrels and ropes have been carved into the stone to represent the shipwreck washed up on the shore. The tale of an ungrateful son makes the tranquil Pantai Air Manis a legendary location to visit that may offer some lesson in life.

Appendix 3 Achilles

Although Achilles possesses superhuman strength and has a close relationship with the gods, he may strike modern readers as less than heroic. He has all the marks of a great warrior, and indeed proves the mightiest man in the Achaean army, but his deep-seated character flaws constantly impede his ability to act with nobility and integrity. He cannot control his pride or the rage that surges up when that pride is injured. This attribute so poisons him that he abandons his comrades and even prays that the Trojans will slaughter them, all because he has been slighted at the hands of his commander, Agamemnon. Achilles is driven primarily by a thirst for glory. Part of him yearns to live a long, easy life, but he knows that his personal fate forces him to choose between the two. Ultimately, he is willing to sacrifice everything else so that his name will be remembered. Like most Homeric characters, Achilles does not develop significantly over the course of the epic. Although the death of Patroclus prompts him to seek reconciliation with Agamemnon, it does not alleviate his rage, but instead redirects it toward Hector. The event does not make Achilles a more deliberative or self-reflective character. Bloodlust, wrath, and pride continue to consume him. He mercilessly mauls his opponents, brazenly takes on the river Xanthus, ignobly desecrates the body of Hector, and savagely sacrifices twelve Trojan men at the funeral of Patroclus. He does not relent in this brutality until the final book of the epic, when King Priam, begging for the return of Hector’s desecrated corpse, appeals to Achilles’ memory of his father, Peleus. Yet it remains unclear whether a father’s heartbroken pleas really have transformed Achilles, or whether this scene merely testifies to Achilles’ capacity for grief and acquaintance with anguish, which were already proven in his intense mourning of Patroclus.

8 Hector

Hector is the mightiest warrior in the Trojan army. Although he meets his match in Achilles, he wreaks havoc on the Achaean army during Achilles’ period of absence. He leads the assault that finally penetrates the Achaean ramparts, he is the first and only Trojan to set fire to an Achaean ship, and he kills Patroclus. Yet his leadership contains discernible flaws, especially toward the end of the epic, when the participation of first Patroclus and then Achilles reinvigorates the Achaean army. He demonstrates a certain cowardice when, twice in Book 17, he flees Great Ajax. Indeed, he recovers his courage only after receiving the insults of his comrades—first Glaucus and then Aeneas. He can often become emotionally carried away as well, treating Patroclus and his other victims with rash cruelty. Later, swept up by a burst of confidence, he foolishly orders the Trojans to camp outside Troy’s walls the night before Achilles returns to battle, thus causing a crucial downfall the next day. But although Hector may prove overly impulsive and insufficiently prudent, he does not come across as arrogant or overbearing, as Agamemnon does. Moreover, the fact that Hector fights in his homeland, unlike any of the Achaean commanders, allows Homer to develop him as a tender, family-oriented man. Hector shows deep, sincere love for his wife and children. Indeed, he even treats his brother Paris with forgiveness and indulgence, despite the man’s lack of spirit and preference for lovemaking over military duty. Hector never turns violent with him, merely aiming frustrated words at his cowardly brother. Moreover, although Hector loves his family, he never loses sight of his responsibility to Troy. Admittedly, he runs from Achilles at first and briefly entertains the delusional hope of negotiating his way out of a duel. However, in the end he stands up to the mighty warrior, even when he realizes that the gods have abandoned him. His refusal to flee even in the face of vastly superior forces makes him the most tragic figure in the poem.

Agamemnon

Agamemnon, king of Mycenae and commander-in-chief of the Achaean army, resembles Achilles in some respects. Though not nearly as strong, he has a similarly hot temper and prideful streak. When Agamemnon’s insulting demand that Achilles relinquish his war prize, Briseis, causes Achilles to withdraw angrily from battle, the suffering that results for the Greek army owes as much to Agamemnon’s stubbornness as to that of Achilles. But Agamemnon’s pride makes him more arrogant than Achilles. While Achilles’ pride flares up after it is injured, Agamemnon uses every opportunity to make others feel the effects of his. He always expects the largest portions of the plunder, even though he takes the fewest risks in battle. Additionally, he insists upon leading the army, even though his younger brother Menelaus, whose wife, Helen, was stolen by Paris, possesses the real grievance against the Trojans. He never allows the Achaeans to forget his kingly status. Agamemnon also differs from Achilles in his appreciation of subtlety. Achilles remains fiercely devoted to those who love him but devotedly vicious to those who do him harm; he sees no shades of gray. Agamemnon, however, remains fundamentally concerned with himself, and he has the cunning to manipulate people and situations for his own benefit. He does not trust his troops blindly, but tests their loyalty, as in Book 2. Although he

9 reconciles with Achilles in Book 19, he shirks personal responsibility with a forked- tongued indictment of Fate, Ruin, and the gods. Whereas Achilles is wholly consumed by his emotions, Agamemnon demonstrates a deft ability to keep himself—and others—under control. When he commits wrongs, he does so not out of blind rage and frustration like Achilles, but out of amoral, self-serving cunning. For this reason, Homer’s portrait of Agamemnon ultimately proves unkind, and the reader never feels the same sympathy for him as for Achilles.

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