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competence of being able to tell a story. For instance the Portuguese contributor of “Story House” points at the relevance of “narrative skills (sequencing, suspense, point of view, etc.)”. Similarly the Norwegian contributor of “Storytelling Theatre” refers to the teaching objectives which stipulate “that students should be able to: • • • • •

use basic techniques of storytelling explain some basics about storytelling compile a storytelling program for a specific audience facilitate a storytelling situation explain storytelling as a pedagogical method.” 54

Their colleagues, Marianne Sundal and Lise Grimnes, also question whether it is possible for all teachers and students to become storytellers. They therefore resorted in their “Storytelling School in Skedsmo” to a form of microteaching,

… a type of “flashlight education” related to the story. It means that (…) the teachers should look through the subject material, and learn to “spot” storytelling material in texts they have to convey. It can be character description (Napoleon), or just a picture or a scene (when Semmelweis understands the importance of washing hands). Then we work on this exact detail to make it come alive so that it can be merged into teacher education as it already is. By working in this way, all teachers can use the ideas and methods related to the art of storytelling, without it being too time consuming. 55

Oral or digital storytelling? We distinguished between oral and digital storytelling using Lambert’s definition of digital storytelling as interweaving “different media to support the art of storytelling” (2006). Contrary to our expectations we gathered more good practices 82

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of digital storytelling either to create or to share the stories. Of the twenty-two stories eight used oral storytelling in class using no technical support: • Of Storydragons, Silvernoses and Bookworms - PHSt – Austria • Storytelling Festival in Primary School – KHLim – Belgium • Storytelling Theater”, Halden upper secondary school – Norway • Storytelling School in Skedsmo, with Marianne Sundal and Lise Grimnes – Norway • Story House (Casa das Histórias) – Chapitô in a partnership with the Ministry of Justice Institute for Social Reinsertion – Portugal • The Collection Bag - Portugal • Dragons and monsters –Sweden • Primary Languages Storybox Project with Goldsmiths PGCE Primary Course The Language Company – UK Fourteen opted for digital storytelling using PowerPoint, MovieMaker, audacity, apps and digital platforms to create and share; • Spielstadt – Jeuville – Playcity – Austria • Making Digital Stories with MS PowerPoint or MS Movie Maker – UCLL – Belgium • What Does the Teacher Say? – UCLL – Belgium • Of Cuberdons, Belgian Waffles, Beer and Meatballs from Liege – UCLL – Belgium • Is There a Moocy Way? – UCLL – Belgium • Researched and Imaginary Story on Longitude - Denmark • Legend of the White Lady – Estonia. • Under the Same Sky: My Food is your Food – POLIMI – Italy • Bella, buona e solidale (Beautiful, good and responsible) – POLIMI – Italy • Bones Don’t Lie – POLIMI – Italy • Polish-French Dragon Hunt – Poland • European Tales Day – Poland • Time Capsule - Spain • Multi Lingual Digital Story telling – Peace School London United Kingdom

TALES manual - English version  
TALES manual - English version