My Book of Stories

To be a person is to have a story to tell. - Isak Dinesen

Let Your Children Write Their Own Story

My Book of Stories!

Master Trainer : Geeta Ramanujam (Master Storyteller)

A young boy was asked, “What do you want to become when you grow up?” “I am going to be a doctor.” “How much do you gonna make?” “I gonna make people feel ok.” Dedicated to the Students of Mayo College, Ajmer

My Book of Stories! Journey across the world through hand picked tales by Tripti Pareek

For More Information Website: https://triptipareek.com/ | Email: mayotripti2016@gmail.com

“Vellichor”

www.mayocollege.com Project submission for Diploma Course in Storytelling from Kathalaya’s International Academy of Storytelling triptipareek1982

triptipareek1982

Pareek.Tripti

www.Kathalaya.org

Dedicated to Late Ms Parmila Pareek Stories are light. Light is precious in a world so dark. Begin at the beginning. Tell me a story. Make some light. ~ Kate DiCamillo

1

? · Kesar to Cricket ? · MªhEl vufyfeVsM* ? · eka lk fo'okl

TABLE OF CONTENTS The Living tale of Wisdom and Education The Biography of Mayo College Bonafide Certificate Abstract Acknowledgment Introduction : Geeta Ramanujam Introduction : Tripti Pareek Introduction : Lt Gen SH Kulkarni (Retd) Letter of Appreciation : Naveen Kumar Dixit Letter of Appreciation : Dr Achaldeep Dubey Storytelling for The Brain , Mind and Soul Power of Storytelling Strategic Storytelling TYPES OF STORIES Folktales ? · Alliance of Two Folktales and Two Nations ? · Persian Folktale The Boy Who Became a Bulbul ? · Old Saying V/s Stories Mythology ? · Mahisasurmardini ? · Maori Mythology ? · Sibling Rivalry ? · The Gods Go Hungry: ? · Minthe ? · The Story of a Yogi ? · Can Gay Marriage be a part of Hindu Culture? Fantasy/Fairy Tales ? · The Wishful Harvest ? · Fairy Tale from Alice in Wonderland (Adaption) ? · Hansel and Gretel German Fairytale Legend ? · Queen Mother: Legacy of legendary Tigress Machli ? · The legend: Mohommad Ali ? · Legends from the World Epic ? · Epochs of Epics ? · The Story 'ZOPA' Fable ? · The Monkey and The Crocodile ? · The Story of 108 Snails on Buddha's head (Adapted) ? · The Panchtantra Way Contemporary Stories ? · Forest ? · Stories about personal Experiences ? · Attitude Matters 2

4 5 6 7 8 9 10 11 12 13 14 15 20 21 22 23 24 25 28 29 30 32 33 34 35 36 38 39 40 41 42 43 44 45 48 49 52 53 54 55 56 58 59 60 61

Comics and Cartoon ? · Laxman Science Cartoon ? · The Tiger Eater - Amar Chitra Katha ? · The Scientific Thousand and One Nights Cinema and Storytelling ? · n Vhpj (2023) ? · The Dot and the Line ? · The Film : Bioscopewala ? · Iranian Film : TheWhiteBallon by Abbaskiarostami Modern Story ? · Crossing the Raavi Gulzar ? · VksyLVk; dh lkbfdy ? · His little book ? · The Story Behind The Name ? · A musical Girl Called Gillian ? · The Divine Heartbreak of Romantic Friendship Digital Story Boards ? · Story Board with a Single Image Children's Literature ? · The Lost Drop ? · The Evening @Mango ? · Square Master with this Engaging Activity ? · The Little Black Hole Storytelling Photography ? · Documentary Photo Story Integrated Lesson Plans ? · Letter ? · Telling Stories with Masks ? · Art Integrated Learning Lesson Plan on Harappa Civilization ? · Galaxy Wanderers ? · Story-Telling in Classroom ? · Lesson Plan : Contemporary Story ? · Lesson Plan : Amar Chitra Katha ? · Lesson Plan : Contemporary Story Forest ? · Lesson Plan : Modern Stories ? · Lesson Plan : Jataka Tales ? · Lesson Plan : Maori Mythology ? · Lesson Plan : Epic Mahabhart ? · Lesson Plan : Magical Beanstalk Fairy Tales ? · Lesson Plan : Epic Achilles And Patroclus Fish Bowl Activity Music And Storytelling Story Props Masks Costumes Puppets 3

63 64 65 66 67 68 72 76 77 78 79 80 81 82 85 86 87 88 90 92 93 94 95 96 98 99 100 101 102 103 104 106 108 111 112 113 114 116 118 120 122 124 125 126 127 128 129 130 131

The Biography of Mayo College Objects seen in the mirror are

The : Mayo College Chronicles: The Living Tale of Wisdom

grander than they appear.

and Education Enchanting biography of Mayo College, the hallowed halls unfold as a captivating character, weaving its tale with threads of tradition and cultural richness. From its inception, Mayo emerges as a wise custodian of knowledge, embracing the evolving narrative of education with the finesse of a seasoned storyteller. Listen closely to the whispers of legacy resonating through the corridors, where each alumni becomes a storyteller, sharing tales of historical significance and enduring legacies. The biography paints a portrait of Mayo College

Pic credit : Smita Chandela

as a modern sage of education, navigating the complex tapestry of learning with a profound understanding of both tradition and innovation. As the curriculum maestro, Mayo unveils its magical script, revealing innovative chapters that dance to the dynamic rhythm of the modern world, yet delicately cherishing timeless values etched in its pages. The biography introduces Mayo as a global visionary, donning the persona of a character with sparkling eyes, embodying a worldly perspective and preparing students for a connected and everevolving world. Technological integration takes center stage as a wizard, waving its wand to create interactive and progressive learning experiences, casting a spell of enlightenment upon eager minds. Leadership development emerges as a wise mentor, skillfully blending heritage and forward-thinking initiatives to nurture qualities that will shape the future leaders within Mayo's narrative. Magical portals of connection come to life through cultural exchange programs, bridging the gap between tradition and modernity, and connecting Mayo College with the global tapestry of wisdom. The vibrant characters of sports and arts step into the limelight, balancing the academic narrative with colors and rhythms for holistic student development. In the grand finale, community engagement becomes the harmonious conductor, orchestrating a profound sense of responsibility and empathy in the hearts of the students. "Mayo College Chronicles: The Living Tale of Wisdom and Education" unfolds as a creative biography, where the institution itself is a dynamic protagonist, shaping the destiny of those who pass through its hallowed corridors. 4

5

ABSTRACT

The objective of the diploma was to

BONAFIDE CERTIFICATE Certified that this Diploma titled

Gain an in-depth understanding of storytelling and the classification of various genres Enhance and develop my storytelling skills by not only learning and interacting

with Master storytellers across various fields. performing but also by watching,

“Project submission for Diploma course in Storytelling”

Document the power of stories as experienced by me in this journey and also

reflect on my learnings and thoughts on the same. Experience firsthand how stories can create a positive transformation in

children and help them in learning and developing life skills.

is the bonafide work of Tripti Pareek

Assess the impact of stories in creating awareness on topics and issues that

who carried out the Project under the aegis of Kathalaya's Academy of storytelling. Certified further that to the best of my knowledge the work reported herein does

affect the society at large. Disclaimers : ? Not everything work work for all audiences.

not form part of any other document dissertation.

? Not a comprehensive set of tools. ? The idea : Improve odds

Name of the diploma candidate Tripti Pareek Signature Date submitted on

6

7

Geeta Ramanujam is injecting new life into Indian classrooms by reviving the art of storytelling–a

ACKNOWLEDGMENT

cultural tradition forgotten by modern education–and making it part of the primary school curriculum.

I express my gratitude to Kathalaya International Academy of Storytelling and Mayo College, Ajmer for their encouraging and creative support.

Geeta Ramanujam is a master storyteller, trainer,

Special thanks to all individuals and organizations collaborating on this Storytelling Diploma

founder and executive director of Kathalaya's

Project. I appreciate the evaluators for their valuable inputs throughout the project,

International Academy of Storytelling and the

enhancing its quality with expertise and contributions.

INTRODUCTION

Kathalaya Trust. She is also an academician and administrator with twenty-three years of experience

A heartfelt thank you to my creative students who worked alongside me, sharing original

in storytelling. A pioneer of the storytelling

inputs and fresh ideas, our collaboration fostered a creative and productive environment,

movement in India, Geeta has defined and evolved

leading to the successful completion of this project. Acknowledgment goes to Director Mayo College Lt Gen SH Kulkarni for providing necessary resources and encouragement, enabling the development of this storytelling diploma

GEETA RAMANUJAM

course.

the ancient art of storytelling through workshops and certified courses, engaging over 93,491 adults and 5,00,000 children so far. Geeta has travelled to fortythree countries and twenty-seven states in India to groom professional tellers, all the while sowing seeds

I credit the elements of nature, storytellers, writers, thinkers, individuals, and intellectuals who weave stories impacting cross-cultures, giving me strength and liberty to modify as needed. Thanks to everyone who listened to my stories, providing courage to share more. A special appreciation to colleagues for ideas and, most importantly, smiles and pats on the shoulder, assuring me to move forward in my journey. Lastly, gratitude to ancestors, friends, and dear family members watching over me from the sky, reflecting in my confidence to move forward.

Master Storyteller, Trainer, Founder & Executive Director of Kathalaya's International Academy

of storytelling around the world for the last forty years. Kathalaya's International Academy of Storytelling is the only globally recognized academy for storytelling in the world with accredited courses affiliated to USA, Scotland and Sweden. Geeta has trained 174 batches of the certified beginners and diploma courses as of December 2023. Geeta is an Ashoka Fellow and has won several accolades for storytelling, including the

Big thanks to Master storyteller Geeta Ramanujam for her mentor ship and guidance.

Best Story Narrator award from the Governor of Tamil Nadu and the Boca do Céu-Encontro Internacional de

"I am because you all are.”

Contadores de Histórias Storyteller Award in Brazil. Kathalaya was also listed in the Limca Book of

Sincerely Yours

Records for having organized the first international storytelling festival in India in 2005.

Tripti Pareek Tell the Tale

Geeta has written The Wise Monkey and Other Animal Stories, which was published in 2002 by Puffin Books. Tales from the World is her second offering. 8

9

10

11

Navin Kumar Dixit HEADMASTER, SENIOR SCHOOL MAYO COLLEGE, AJMER

I extend my appreciation for the noteworthy contributions of Ms Tripti Pareek over the course of the past seven years. As a diligent employee showcasing a commendable creative acumen, Ms Pareek has been an integral collaborator on numerous school projects and events. In her role as the SPIC MACAY coordinator at Mayo College, Ms Pareek has demonstrated exceptional interpersonal and organizational skills. It is noteworthy to mention that Ms Pareek discovered her storytelling talent during the challenging times of the pandemic. Over the last three years, she has dedicated herself to refining this skill, actively participating in storytelling workshops, and incorporating it into her Hindi language lesson planning as an effective pedagogical tool. Ms Pareek's collaboration with The Technical Skills Development Centre of Mayo College and Department of fine Arts introducing the indigenous art of Kavad, Warli and Phad storytelling to students, is particularly commendable. Her captivating shows at the German festival at Mayo College, Mayo Middles Round Square Conference and in the Senior and Junior boarding Houses at Mayo College have garnered attention and appreciation from the educators and students.

Dr Achal Deep Dubey Head of English Master-in-charge Debating Society and Dramatics Society MAYO COLLEGE, AJMER

It’s been almost eight years since I have been working with Tripti Pareek at Mayo College. Exceptional commitment to assigned duties, delivering to the best of her capacities, applying and dedicating herself to the best results, and consistently trying to add value are some characteristics integral to her personality. Over the years, she has become an integral part of the school’s functioning. Being the Assistant Housemaster of Ajmer House, where she has been a Tutor, I had Innumerable opportunities to interact and work with her. She has done much more than a tutor's primary duties, which are supervising the students during the prep, keeping track of their academic progress, etc. Tripti enthusiastically engages the students in discussions and debates, sharing her life experiences and thoughts and developing fresh perspectives on them. With storytelling sessions, Nukkad Naataks, and poetry performances, she has taught the students to read between the lines and get into a character’s mind. She has also assisted me in the Prize Giving productions - Julius Caesar in 2022 and My Fair Lady earlier this month. She has an insight into almost all the domains of a theatre - costume designing, lights, use of space, dialogue delivery, etc. With her artistic acumen and aesthetic sense, she has contributed immensely to the overall effect of the productions. Being the teacher in charge of the SPICMACAY Heritage Club of the school, she has shown excellent interpersonal skills in coordinating with artists and authorities alike. Over the years, being the master in charge of SPICMACAY events, she has evolved as a great event manager and organiser.

It is evident that Ms Pareek is emerging as a distinguished storyteller, inspiring her students to explore and appreciate this creative medium. Her vision and mission to promote storytelling among both students and adults reflect a genuine passion for the art.

Interacting with her is like reading a novel as she narrates everything with so much detail. With tonal implications, gestures and expressions, it seems she is performing a story. She has done several storytelling sessions in a school and around, from which I had the privilege to attend a few. I would be less than honest if I don’t admit that I get transported to the fairytale world she creates with sharp voice modulation, expressive eyes, elegant movements and expert use of props.

I extend my best wishes to Ms Pareek for the Storytelling project she has undertaken.

I wish her luck in all her ventures as an educator and, more importantly, a storyteller.

Navin Kumar Dixit Headmaster, Senior School 12

Dr Achal Deep Dubey Head of English Master-in-charge - Debating Society and Dramatics Society Coordinator - Media and Press Author – Six Contemporary Indian English Novels: A Sociolinguistic Perspective Face to Face – A series of ASL books 13

POWER OF STORYTELLING Storytelling: Effective Teaching Strategy

Paper presented at G20 Research Conclave on ‘Knowledge Exchange in a Globalized World' for Faculty, Shodhotsav 2023, organised by Dr. B. R. Ambedkar University Delhi.31st to 1st September Abstract: Effective teaching strategies can be defined as utilizing the higher levels of Bloom's taxonomy, which include understanding, application and analysis (Flynn, Mesibov, Vermette & Smith, 2004). Teachers that use effective teaching strategies can significantly impact the future earnings of their students. Students that are recipients of these strategies receive a higher quality of K-12 education, which leads to a higher caliber of colleges and universities chosen. As a result of the higher education institutions attended, students become more competitive when entering an evolving workforce, earning higher salaries. This paper explores the effective teaching strategy of storytelling. It identifies best practices of storytelling leaders in education. The literature reveals a link between successful storytelling practices in reference to adult learning. There is also a connection between the impact of storytelling and the neuroscience of the brain. Keywords: Effective Teaching Strategies, Storytelling, Adult Learning Theory, Neuroscience Introduction: Storytelling practices are expected to help leaders in education who want to practice storytelling in their leadership practice and teaching learning process. As a result of interviewing teachers in this study, several themes were discovered that pointed out key factors in best storytelling practices. Some key findings include using stories to encourage critical thinking skills, heighten self-awareness among students, and activate brain triggers that produce an emotional connection around a subject 14

15

matter. The following story will illustrate the intent of the paper: One day a young lady was driving along with her father. They came upon a storm and the young lady asked her father, "What should I do?" Father said, "Keep driving." Cars began to pull over to the side, the storm was getting worse. "What should I do?" The young lady asked? "Keep driving," her father replied. On up a few feet, she noticed that eighteen-wheelers were also pulling over. She told her father, "I must pull over, I can barely see ahead. It is terrible and everyone is pulling over!" Her father told her, "Don't give up, just keep driving!" Now the storm was terrible, but she never stopped driving and soon she could see a little more clearly. After a couple of miles she was again on dry land and the sun came out. Her father said, "Now you can pull over and get out." Young Lady said, "But why now?" Father said, "When you get out, look back at all the people that gave up and are still in the storm, because you never gave up your storm is now over." This is a testimony for anyone who is going through "hard times." Just because everyone else, even the strongest, gives up. You don't have to ... if you keep going, soon your storm will be over and the Sun will shine upon your face again.

dropout rates. storytelling is effective strategies that can be used to improve teaching, such as: identifying commonalities and diversity, effective note taking, acknowledging progress and encouraging effort, nonlinguistic representations, cooperative learning, discussing goals and providing constructive criticism, generating and testing hypotheses, encouraging questions, offering cues, and advance organizers. In reference to 21st century storytelling practices as an emergent effective teaching strategy. Theoretical Case for Storytelling Neuroscience Neurologist Paul MacLean introduced the notion that the human brain is composed of three different brains,The three brain parts are the reptilian brain, limbic system, and neocortex. Neurons connect all three to each other but they all have their own functions (Kazlev, 2003). The reptilian brain is the oldest part of the brain, which includes the brain stem and cerebellum. The reptilian brain is located in the lowest part of the brain. It is named after reptiles because in these animals the brain stem and cerebellum dominate. It controls muscles, balance, and instinctive functions, such as breathing, heartbeat, and sexual behavior. The limbic system is the middle part of the brain; this is the mammalian brain, which controls emotions, instincts, and feelings. It will cause humans to fight, flee, or freeze based on the situation. The highest part of the brain is the neocortex. This part of the brain controls higher-level thinking and

In the classroom, stories like these can be used to encourage students to continue working hard although they may have a tough year ahead in learning. In sharing such a story with students, teachers would be performing an act of compassion, making a connection with students and tapping into their emotions. Indeed, storytelling is one of the many ways teachers can impact the lives of students. Storytelling is an effective teaching strategy that is also important in education as it pertains to teaching lessons (Catapano, n.d.). Certain practices in storytelling make it an effective teaching strategy. One practice is setting examples of what to do and what not to do by sharing one's own stories of success, failure, and lessons learned. Students would need to be able to analyze and synthesize what they hear so they can relate it to their own personal experiences: a process that aligns with the higher levels of Bloom's Taxonomy (Flynn et al., 2004). By performing this analysis, students then become aware of options when faced with similar situations. Another storytelling practice is beginning class sessions with a story as the introduction as a way of getting students' attention after the bell rings. Stories at the beginning of class also set the tone for the learning and language objectives for the class. A third practice of storytelling in education is to illustrate meaning. Stories can be used to explain concepts to students when they are not able to comprehend the facts and figures involved. Storytelling games are another form of effective practice that can be used to introduce meanings and describe concepts (Lipman, 1994). All three of these uses of storytelling can be incorporated into today's constantly changing educational system. As the educational system evolves, teachers have an obligation to provide students with the best and most consistent educational opportunities. Looking for ways to deliver material to help students learn more effectively is an ideal for which all institutions of learning strive, especially if they are to decrease 16

language skills, among many other things. It is also divided into a right and left side (Kazlev, 2003).The right side controls abstract and artistic ideas, while the left side is more rational and verbal.Studies show that storytelling is connected to how the brain works because it touches on the emotional part of the brain (Barker & Gower, 2010; Carr & Ann, 2011; Collison & Mackenzie 1999; Eriauer, 2003. According to Johnson and Taylor (2006), "The brain is a social organ innately designed to learn through shared experiences" A story serves the purpose of informing and self-esteem and is transferred all across the brain when told. These stories that are transferred are processed in the left and right hemisphere of the brain. Freud In the article "Strategic Application of Storytelling in Organizations," Barker and Gower (2010) argued that storytelling is the best way for humans to communicate because stories foster a profound feeling of shared empathy on both a cognitive and emotional level. The reference to cognitive and emotional positions aligns with how the brain works (Kazlev, 2003). When processing stories, both the conscious and unconscious minds are at work (Carr & Ann, 2011). Freud (1957) argued that the mind is divided into three provinces. The first province is the id, which is where biological urges, drives or instincts are derived. This part of the brain is conscious to the mind. The second province is the ego, which uses logic, memory and judgment to appease the needs of the id. The final part is the superego, which focuses on society's rules and restrictions and reminds the ego of them. The ego and superego are unconscious. When stories are told, certain desires, feelings, and emotions that may arise from the conscious id are held back by the unconscious superego (Carr & Ann, 2011). This activity concerning emotions and feelings align with the limbic system, thus creating synapses that enable retention (Kazlev, 2003). 17

As seen in Marc Kuly's example, students are able to learn from drawing on their own experiences Andragogy Knowles et al. (2012) used the term andragogy to describe how adults learn, identifying

when hearing stories (F. Collins, 1999; Hunter & Eder, 2010). F. Collins (1999) argued that the mental

six in-depth key categories in his andragogical model. The first category is the need to-know, which

images that students form when hearing stories are a result of the activity of the mind where a strong

involves having the peace of mind in knowing that the information being learned can help one's

case is presented for educational value on imagination. As a result of developing these experiences,

everyday life. The second category is the learner's self-concept, which speaks to adults making their

students develop their own personal morphologies and gain more clarity with the subject matter by

own decisions while learning. The third category is the role of the learner's experiences, which

hearing more and more stories, retelling them, and creating their own. However, Hunter and Eder

supports the notion that adults learn better when they can juxtapose their personal experiences with

(2010) argued that because students draw from their own experience, they are maintaining their own

what is being learned in the classroom. The fourth category is readiness to learn, which concentrates

expertise, which reinforces that their contribution is important and should be considered in the

on the need to learn and catalyzes a readiness for learning. A great example would be learning a skill for a promotion. The fifth category is an orientation to learning, where the learning is a result of

conversation. It has been suggested that teachers who use stories are more effective at transferring knowledge in

problem solving. The final category is the motivation to learn, which includes acquiring knowledge with

childhood and higher education than teachers who do not (R. Collins & Cooper, 1997; Mittelstadt,

the hopes of advancement in occupation or salary. These six categories are connected to storytelling,

2003). Telling stories of affirmations, teacher tales, and gifts cultivates increased attention spans,

particularly the role of learners' experiences.

imaginative writing, good group dynamics, and enhanced self-esteem among elementary school students (Mittelstadt 2003; Rockman, 2001). Stories also can support an elementary school

The role of learners' experiences is when experience is gained through problem solving and discussion

curriculum. A story can bring a curriculum to life by connecting to the learner's immediate situation

(Knowles et al., 2012). Storytelling is connected to this adult learning (Collison & Mackenzie, 1999;

(Hamer, 1999). This connection is also prevalent in discussions about adult learning in education.

Harris & Barnes, 2006; Morgan & Dennehy, 1997; McLellan, 2006; Paquette, 2013). Regarding this participate in sharing stories (McLellan, 2006; Morgan & Dennehy, 1997). Morgan and Dennehy

Conclusion: Recent evident suggests that teachers are effective with telling stories with adults because it allows

(1997) specifically discussed adults' ability to learn a foreign language in a learning environment

them to connect with their own stories (Knowles et al., 2012). Unfortunately the literature had little

through storytelling, while McLellan (2006) noted how Xerox capitalized on the facilitation of learning

evidence on the effectiveness of storytelling with nontraditional adults in education and the

through encouraging their technicians to share stories during coffee breaks.

experiences of adult educators.

Storytelling to motivate is just as important as storytelling to transfer knowledge (Collison &

References: Adams, N. E. (2015). Bloom's taxonomy of cognitive learning objectives. Journal of the Medical

connection to storytelling, the literature indicates that a knowledge transfer takes place when adults

Mackenzie, 1999; Harris & Barnes, 2006; Paquette, 2013). Storytelling in adult learning can help motivate people towards future endeavors when organizations take a new direction. For example, companies use storytelling to help adults learn how to conceptualize new direction and career options (Collison & Mackenzie, 1999). The literature reveals that childhood stories shared by students among each other help motivate by building trust through showing authenticity and self-disclosure (Harris &

Library Association, 103(3), 152-153. doi:10.3163/1536-5050.103.3.010 Abma, T. A. (2003). Learning by telling: Storytelling workshops as an organizational learning intervention. Management Learning, 34(2), 221-240. doi:10.1177/1350507603034002004 Artino, A. R., Jr. (2008). Cognitive load theory and the role of learner experience: An abbreviated

Barnes, 2006; Paquette, 2013). Storytelling in leadership in K-12 education There is a consensus among authors that in education, storytelling in leadership is defined as a

review for educational practitioners. AACE Journal, 16(4), 425-439. Retrieved from

narrative told by a leader at school to an audience for the purpose of transforming one or more

effective communication in a diverse world. Journal of Business Communication, 47(3), 295-312.

elements of the school or organization (Noonan & Fish, 2006; Sanders 1995). This definition can be

doi:10.1177/0021943610369782 Collins, F. (1999). The use of traditional storytelling in education to the learning of literacy skills.

seen in Marc Kuly's (2011) example of changing his students' mindset through storytelling. Kuly was mandated to teach a class about living standards around the world to a group of diverse students. He decided to use storytelling to transform the mindsets of his students to being more open in defining standards of living. The curriculum he was given was not written for diverse students, so he decided to start by sharing his own stories of growing up and playtime to help students relate to each other. As a result of Kuly's intervention, the students began to ask questions, and their conversations about standards of living were transformed. There was a transfer of knowledge that helped the students to understand that standards of living were not solely subject to their own individual experiences. 18

http://www.editlib.org/j/AACEJ Barker, R. T., & Gower, K. (2010). Strategic application of storytelling in organizations toward

Early Child Development and Care, 152(1), 77-108. doi:10.1080/0300443991520106 Collins, R., & Cooper, P. J. (1997). The power of story: Teaching through storytelling (2nd ed.). Boston, MA: Allyn and Bacon. Collison, C., & Mackenzie, A. (1999). The power of story in organisations. Journal of Workplace Learning, 11(1), 38-40. doi:10.1108/13665629910250960 Kumar Krihsna (1991). The child's language and the teacher, National Book Trust, New Delhi. Badheka Gijubhai (1931). Divaswapna, National Book Trust, New Delhi. 19

Strategic Storytelling

TYPES OF STORIES

Why some stories don’t drive your success at work and others do. In today’s connection economy, the most successful leaders inspire their people with purpose and meaning. Powerful corporate storytelling can mobilise people around an organisational objective in a way that a focus on market share never will. Be it a digital transformation, or a diversity and inclusion initiative, corporate change needs the support of the people in that organisation in order to stick. Yet, while all stories can move people to take action, storytelling isn’t a one size fits all. The most effective influencers learn to flex their narrative based on the audience’s time or their level of expertise. • A story that works on the stage doesn’t work in the boardroom • A story that works in the boardroom

Select Stories with KPI

doesn’t work in a team meeting • A story that works in a team meeting doesn’t work in a one-to-one conversation • A story that works in one-to-one conversation doesn’t work in sales Disclaimer: Types are mentioned in this book are the broad types of stories. This is not meant to be an exhaustive list and there are stories that belong to more than one genre at the same time. Indeed, there are other types of stories like witty tales, anecdotes, etc. that are not covered here but any classification system for stories cannot be an exact science. 20

21

Folktales

Tale about the background image

Alliance of Two Folktales and Two Nations (Tale from India & Persia Same Thread Same Message ) Story 1 The Story Of The Prince Who Didn't Exist Persian Tale

In 1284, while the town of Hamelin was suffering from a rat infestation, a piper dressed in multicolored ("pied") clothing appeared, claiming to be a rat-catcher. He promised the mayor a solution to their problem with the rat

Once upon a time there was a time when there was no one but God.

There was a King who had three sons, two of them were dead and the third didn't exist; he also had three treasure-houses, two of them were empty and the third had no door. In the Treasury that had no door there were three bows and arrows, two of them were broken and the third had no string; there were also three knives, two of which were broken and the third had no blade. In the stable there were three horses, two of them were dead and the third had given up the ghost; there were also three sets of saddles and bridles, two of them had rotted away and of the third there was no trace. The King's Son who didn't exist went into the Treasury without a door and carried off the bow and arrow without a string and the knife without a blade. Then he went into the stable and saddled the horse who had given up the ghost with the saddle and bridle of which there was no trace. He mounted and rode off to hunt. As he rode he came upon three deer, two of whomwere dead and the third was lifeless. He shot with the stringless bow and arrow at the lifeless deer, and cut off its stead with the bladeless knife and tied it on the back of the horse who had given up the ghost. Then he proceeded on his way till he came to a ruin with three rooms in it; two of them had fallen down and the third had no roof. He went into the roofless room and saw that there were three cooking pots there, two of them had no sides and the third had no bottom. He cut up the deer with the bladeless knife and put it into the pot that had no bottom, and lit a fire under it till the bones were burnt, but the meat hadn't even heard news of the fire. Then he ate till he was very thirsty of the meat that had had no news of the fire.

Folktales is a broad topic comprising of everyday customs, beliefs, crafts and

He mounted the horse who had given up the ghost and rode till he reached three streams of water; two of them were dry

legends. Every group bound together or by common interests and purposes,

and the third hadn't a drop in it. He stooped over the stream that hadn't a drop in it and drank and drank till he lost his head.

whether educated or uneducated, rural or urban, possesses a body of

And now my story has come to an end, but the sparrow never got home.

traditions which may be called its folklore. These traditional forms of

Story 2

knowledge are learned informally, within a one-to-one or small group

fxtwHkkbZ c/ksdk

exchange, through performance, or by example. In all cases, folklore is learnt

Hkkjr ls ,d dgkuh

and passed down within the"group," for it is the shared experience which shapes and gives meaning to the exchange.

22

>wBewB

>wBewB ,d Fkk >wBk uxj A mlesa jgrs Fks rhu jktdqekjA nks iSnk ugha gq, Fks vkSj rhljk gksus okyk ugha FkkA rhuksa ;k=k ij fudysA jkLrs esa Fks vke ds rhu isM+A nks xk;c Fks vkSj rhljk ekVh esa Hkh ugha Fkk A mldh Nkao esa cSBs jktdqekj] [kkus dks rhu vke A nks esa jl ugha Fkk vkSj rhljs esa xqByh Hkh ugha Fkh A jktdqekj vkxs c<+sA jkLrs esa rhu ufn;ka feyha nks lw[kh likV Fkha vkSj rhljh esa dadM+ Hkh ugha FksA jktdqekj ,d xkao igqapsA mlesa Fkh rhu gosfy;kaA nks dh nhokjsa /kalh Fkha vkSj rhljh esa Q'kZ Hkh ugha Fkk A mlesa ,d pwYgk FkkA pwYgs ij cuk, rhu yìw A nks esa phuh ugha Fkh vkSj rhljk xksy Hkh ugha Fkk A jktdqekjksa us nkor nh] cqyk, rhu iafMr ?kj A nks fcuk isV ds Fks vkSj rhljs dk eqag Hkh ugha Fkk A fcuk eqag dk iafMr rhuksa yìw [kk x;k vkSj ckdh lc ns[krs jg x,A 23

Persian Folktale The Boy Who Became a Bulbul Once upon a time there was a time when there was no one but GOD.

THERE was a man who had a small son and daughter, and he had taken another wife, so the children had a step- mother. One day the father and son were starting out to collect thorn-bushes for firewood, for the father was a thorn-cutter. As they were going off the stepmother said: "You two ought to lay a wager to-day and agree that whichever of you collects the more firewood should cut off the other one's head." The father and son agreed to do this. They went out and gathered their firewood, and it happened that the boy collected more than his father. As they were going to tie up the two bundles the lad said: "Daddy, do you know, I'm awfully thirsty." "Well, then," said the father, "run off to the stream and have a drink." No sooner had he gone off to drink than the father took some of the thorn-bushes off the boy's bundle and added them to his own. Then they tied up their loads, and the father said,"Come, let's weigh our bundles and see who has gathered more firewood, you or I." When they weighed the loads the father's was now the heavier, so the boy lay down, and the father cut his head off. He carried the child's head home and gave it to his wife and said: "Come and cook this," and she put the head on the fire to boil. At mid-day the little sister came back from the mulla and said to her stepmother: "I'm very hungry."-"Well, go and lift the lid of the pot and take some of the soup from the meat that's boiling there, and come and eat it with your bread." The little girl lifted the lid and recognised the top-knot of her brother's hair that was spinning round and round. She shut down the lid quickly and ran off crying to her teacher, and told her the whole story. "On no account," said the mulla, "must you allow any of that soup to cross your lips. When the others have eaten it all up, you must gather your brother's bones all carefully together and wash them in rose-water, and bury them in a corner of the garden. Then plant a reed to mark the place where you have buried them. Every Friday Eve you must then go to the little grave and repeat a sura of the Qur'an, and sprinkle a little rose-water over the spot." The girl did just as she was bid, till the seventh Friday Eve had come. On the seventh Thursday she saw a bulbul peep out of the hollow of the reed and perch on it, and the bird began to sing : "I am a bulbul, who lost my way, Through mountains and valleys I wandered astray. An evil father foiled me; A wicked woman boiled me; My sorrowing sister my bones she found, In rose-water she washed them round, And buried them in the garden ground. For seven weeks she has come to pray Beside my grave each seventh day, 24

And sprinkled rose-water where I lay, Till up out of the watered earth A bulbul at last I have come to birth.” And with that "whirr" and away he flew. He flew to the shop of the needle-maker and sat on the ground and sang: "I am a bulbul, who lost my way, Through mountains and valleys I wandered astray. An evil father foiled me; A wicked woman boiled me; My sorrowing sister my bones she found, In rose-water she washed them round, And buried them in the garden ground. For seven weeks she has come to pray Beside my grave each seventh day, And sprinkled rose-water where I lay, Till up out of the watered earth A bulbul at last I have come to birth." The needle-maker said: "Look here, please sing that again." "All right," said the bird, "just shut your eyes and I'll sing it again." As soon as the man had shut his eyes the bulbul seized a paper of needles and "whirr" away he flew.. Then he came and perched on the foot of his step- mother's spinning-wheel and began to sing as before : "I am a bulbul, who lost my way, Through mountains and valleys I wandered astray. An evil father foiled me; A wicked woman boiled me; My sorrowing sister my bones she found, In rose-water she washed them round, And buried them in the garden ground. For seven weeks she has come to pray Beside my grave each seventh day, And sprinkled rose-water where I lay, Till up out of the watered earth A bulbul at last I have come to birth." When he had finished his song the stepmother said: "Look here, please sing that again." "All right, open your mouth and shut your eyes and I'll sing it again." But no sooner had she opened her mouth and shut her eyes than "whish" like lightning he clapped the paper of needles down into her throat, and "whirr " away he flew. Then he flew to the sugar-stick-maker's shop, and sat on the floor and sang the same song. When he had got to the end of it the sweet-maker said: "Look here, please sing that again."-" All right, shut your eyes and I'll sing it again." As soon as the man had shut his eyes the bird seized a big stick of sugar-candy and "whirr" away he flew. Then he came and perched on the foot of his sister's spinning-wheel and began to sing: "I am a bulbul who lost my way, Through mountains and valleys I wandered astray. An evil father foiled me; A wicked woman boiled me; My sorrowing sister my bones she found, In rose-water she washed them round, And buried them in the garden ground. For seven weeks she has come to pray Beside my grave each seventh day, And sprinkled rose-water where I lay, Till up out of the watered earth, A bulbul at last I have come to birth." When he had finished she said: all over again, please." "Look here, sing that "All right," said he, "open your mouth and shut your eyes, and I'll sing it again." She did so, and "whizz" he popped the stick of sugar-candy into ner mouth, and "whirr" away he flew. And now my story has come to an end, but the sparrow never got home. 25

Old Saying V/s Stories Where do those old sayings come from?

piece of wood was placed in the entrance-way. Hence: a thresh hold. In those old days, they cooked in the kitchen with a big kettle that always hung over the fire.. Every day they lit the fire and added things to the pot. They ate mostly vegetables and did not get much meat. They would eat the stew for dinner, leaving leftovers in the pot to get cold overnight and then

People used to use urine to tan animal skins, so families used to all pee in a pot & then once a day it was taken & Sold to the tannery.......if you had to do this to survive you were "Piss Poor" But worse than that were the really poor folk who couldn't even afford to buy a pot......they "didn't have a pot to piss in" & were the lowest of the low The next time you are washing your hands and complain because the water temperature isn't just how you like it, think about how things used to be.

start over the next day. Sometimes stew had food in it that had been there for quite a while. Hence the rhyme: Peas porridge hot, peas porridge cold, peas porridge in the pot nine days old. Sometimes they could obtain pork, which made them feel quite special. When visitors came over, they would hang up their bacon to show off. It was a sign of wealth that a man could, "bring home the bacon." They would cut off a little to share with guests and would all sit around and chew the fat. Those with money had plates made of pewter. Food with high acid content caused some of the lead to leach onto the food, causing lead poisoning death. This happened most often with tomatoes, so for the next 400 years or so, tomatoes were considered poisonous.

Most people got married in June because they took their yearly bath in May, and they still smelled pretty good by June.. However, since they were starting to smell . ...... . Brides carried a bouquet of flowers to hide the body odor. Hence the custom today of carrying a bouquet when getting Married. Baths consisted of a big tub filled with hot water. The man of the house had the privilege of the nice clean water, then all the other sons and men, then the women and finally the children. Last of all the babies. By then the water was so dirty you could actually lose someone in it.. Hence the saying, "Don't throw the baby out with the Bath water!"

Bread was divided according to status. Workers got the burnt bottom of the loaf, the family got the middle, and guests got the top, or the upper crust. Lead cups were used to drink ale or whisky. The combination would Sometimes knock the imbibers out for a couple of days. Someone walking along the road would take them for dead and prepare them for burial.. They were laid out on the kitchen table for a couple of days and the family would gather around and eat and drink and wait and see if they would wake up. Hence the custom of holding a wake. England is old and small and the local folks started running

Houses had thatched roofs-thick straw-piled high, with no wood underneath. It was the only place for animals to get warm, so all the cats and other small animals (mice, bugs) lived in the roof. When it rained it became slippery and sometimes the animals would slip and fall off the roof... Hence the saying "It's raining cats and dogs.”

out of places to bury people. So they would dig up coffins and would take the bones to a bone-house, and reuse the grave. When reopening these coffins, 1 out of 25 coffins were found to have scratch marks on the inside and they realized they had been burying people alive... So they would tie a string on the wrist of the corpse, lead it through

There was nothing to stop things from falling into the house. This posed a real

the coffin and up through the ground and tie it to a bell. Someone would have to sit out in the graveyard

problem in the bedroom where bugs and other droppings could mess up your nice

all night the graveyard shift to listen for the bell; thus, someone could be, saved by the bell or was

clean bed. Hence, a bed with big posts and a sheet hung over the top afforded

considered a dead ringer.

some protection. That's how canopy beds came into existence. The floor was dirt. Only the wealthy had something other than dirt. Hence the saying, "Dirt poor." The wealthy had slate floors that would get slippery in the winter when wet, so they spread thresh (straw) on floor to help keep their footing. As the winter wore on, they added more thresh until, when you opened the door, it would all start slipping outside. A 26

An old saying is a well-known phrase that expresses a general truth. Some other words for an old saying include: Adage, Proverb, Saw, Aphorism. A saying is a short, common, and easy-to-remember phrase. For example, "Saved by the bell!" is a saying that might be used when class ends right before someone's turn to give a speech 27

Mythology Myth about the background image

Mahisasurmardini Long ago there was a wicked demon KingMahishasura. He wanted to be powerful and rule the three worlds. Therefore, he

Nandi, which means “giving delight” or “giving joy,” is the sacred bull of the Hindu god Shiva, one of the most important Hindu gods. When the world becomes evil, Shiva

performed severe penance to please Lord Brahma. When Lord Brahma was pleased

destroys it to make way for beneficial change. Nandi is Shiva's animal form, his means of

and appeared before him, Mahishasura

transportation, and his most ardent worshiper.

asked a boon- to be immortal- that is to never die. But Lord Brahma said “Mahisha- all that is born must die. That is the universal law. You cannot escape that”. Mahishasura thought for a while and said “if I must die, my Lord, it should be in the hands of a woman”. Lord Brahma agreed and granted him the boon and returned to his abode. Mahishasura thought- How can a woman kill a man? That is Impossible. I am now the most powerful person in the whole universe. Mahishaura immediately ordered his army to attack the humans on the earth and the Gods/ Devas in the Devaloka. Mahishasuar and his men became a menace- they started bullying and destroying the Devaloka and no one could touch him. The King of Devas- Indra went to the Trimurtis- Brahma, Vishnu and Siva and explained the situation to them. The three Gods created a powerful woman with several hands. Lord Shiva offered his trisoola to Her. Maha Vishnu his

Mythology is the subset of those traditions pertaining to the spiritual realm, including beliefs about the origin of the universe, about gods and goddesses, and what happens when we die. A traditional or legendary story, usually concerns some being or hero or event, with or without a determinable basis of fact or a natural explanation, especially one that is concerned with deities or demigods and explains some practice, rite, or phenomenon of nature. E.g. Story of Jupiter and how the peacock got its hundred eyes, stories of Narada etc.

Sudarsana chakra Lord Indra his Vajrayudha- or thunderbolt. They named her Durga. Durganow, a powerful Goddess armed with inner strength, courage and wisdom with arms gifted by the powerful Devas set out on a lion to destroy Mahishasura. Mahishasura’s heart skipped a beat when her heard the thunder of Goddess Durga’s arrival. Still, he asked “A mere female trying to attack me?” Durga responded “I not an ordinary female, Mahisha. I am here to fulfil your desire to be killed by a woman” He immediately realised it was a danger sign for him and changed himself into a buffalo and charged the Goddess with all his might. Durga with her inborn power and acquired weapons killed Mahishasura after a long battle. The day Goddess Durga killed the wicked demon Mahishasura is celebrated as Vijayadasami . This day is also celebrated as a victory of Good over Evil.

28

29

Mâori Mythology Mâori mythology and Mâori traditions are two major

(Grey 1956:2-3). Then Tâne searched for heavenly bodies as lights so that his father would be

categories into which the remote oral history of New

appropriately dressed. He obtained the stars and threw them up, along with the moon and the sun.

Zealand's Mâori may be divided. Mâori myths concern

At last Rangi looked handsome (Orbell 1998:145).

fantastic tales relating to the origins of what was the observable world for the pre-European Mâori, often involving gods and demigods. Mâori tradition concerns more folkloric legends often involving historical or semihistorical forebears. Both categories merge in whakapapa to explain the overall origin of the Mâori and their connections to the world which they lived in.

Tâwhirimâtea, the god of storms and winds, is angry that the parents have been torn apart. He joins his father in the sky and punishes the earth and sea with violent storms (Grey 1956:3-6, Tregear 1891:54). Tâwhirimâtea attacks the forests of Tâne, snapping the trunks of the trees, shattering the trees to the ground, leaving them as food for decay and insects. Then he attacks the oceans, and Tangaroa, the god of the sea, flees. Two of Tangaroa's descendants, Ikatere, father of fish and Tute-wehiwehi (or Tu-te-wanawana), the ancestor of reptiles, are terrified by Tâwhirimâtea's fury. The fish flee into the sea, and the reptiles into the forests. Ever since, Tangaroa has resented Tâne

The Mâori did not have a writing system before European

for hiding his runaway children. So it is that Tâne supplies the descendants of Tûmatauenga with

contact, beginning in 1769,[1] therefore they relied on

canoes, fishhooks, and nets to catch the descendants of Tangaroa. Tangaroa retaliates by

oral retellings and recitations memorised from generation to generation. The three forms of

overturning canoes and sending floods that sweep away houses, land and trees (Grey 1971:5-6).

expression prominent in Mâori and Polynesian oral literature are genealogical recital, poetry, and narrative prose. Experts in these subjects were broadly known as tohunga. God of Everything

Progenitor of humankind 1. Some legends say that Tâne made the first man, named Tiki. More widely known is a tradition that Tâne was trying to find himself a wife, but at first he found only non-human females and fathered

In Mâori mythology, Tâne (also called Tâne-mahuta, Tâne-nui-a-Rangi, and several other names) is

insects, birds, and plants. One such was Rangahore, who gave birth to a stone and was abandoned

the god of forests and of birds, and the son of Ranginui and Papatûânuku, the sky father and the

by Tâne. Then he made a woman by moulding her from the soil (Orbell 1998:145).

earth mother, who used to lie in a tight embrace where their many children lived in the darkness between them (Grey 1956:2).

2.In some stories, Tâne marries his daughter Hine-tîtama without her knowing who he is. Upon discovering that she has married her father, she flees to the underworld, and becomes the goddess

The children of Rangi and Papa grew frustrated at their confinement in the cramped space

of death, Hine-nui-te-pô. Tâne follows her and begs her to return. She tells him to return to the world

between their parents. Tû, future god of war, proposes that they should kill their parents. But Tâne

and raise their children, while she will wait below to receive them when they die (Orbell 1998:38).

(or Tâne-mahuta) disagrees, suggesting that it is better to separate them, sending Rangi into the sky and leaving Papa below to care for them. Tâne's brothers Rongo, then Tangaroa, Haumiatiketike and Tû all try in vain to separate the parents. After many tries, Tâne lies on his back and

3.Other traditions tell of the three baskets of knowledge that Tâne brought down from the heavens (Orbell 1998:145).

pushes with his strong legs, and finally forces his parents apart, and Rangi rises high into the heavens

30

31

The Gods Go Hungry:

Sibling Rivalry Sibling rivalry is not uncommon. Ganesha and Kartikeya, the sons of Lord Shiva and Parvati were involved in a dispute. The bone of contention was a fruit. It so happened that the Devas presented to Lord Shiva and his consort Parvati, a divine fruit. Whoever would eat the fruit would imbibe supreme knowledge. Up there in the Kailasa, the divine couple were in a predicament. They loved both the boys dearly and giving the fruit to one would upset the other. So they decided to hold a contest and grant the fruit to the winner. Whoever would circumnavigate the world thrice and reach Kailasa first would be entitled to receive the fruit. The boys were excited. Kartikeya, the younger of the two wasted no time. He got onto his mount, the peacock and took off. Upon completing the first round, he saw that his brother Ganesha hadn't moved an inch . Taking pity on his elder brother for having given up the race, Kartikeya proceeded to finish thehe saw that his brother Ganesha hadn't moved an inch . Taking pity on his elder brother for having given up the race, Kartikeya proceeded to finish the remaining two rounds. As he was about to touch down after the final lap, Ganesh circled his parents thrice and sat before them with folded hands. "As my parents, you represent the whole world. The universe is within you and there is no need for me to go anywhere else", said Ganesha. The divine couple understood the logic and gave Ganesh the fruit replete with knowledge and wisdom. Upset at not being declared the winner, Kartikeya left the scene in a huff but was later pacified by Shiva.

Swaaha A new dawn had just broken when the Creator saw all the gods marching towards Brahmaloka. He smiled as they entered, but the next moment he turned tense. Everyone appeared frail and famished. Their faces were hardly luminous and their bodies were more bone than flesh. On enquiring, the devas informed Brahma that they had nothing to eat. I don't understand. Nothing to eat?' 'Down below on Bhuloka, the good earth is providing food for humans. They don't have to toil in any way as she keeps bearing roots and fruits. But up here in heaven, there's nothing to feed us. How do we sustain ourselves?' "Through yagnas, Brahma answered. "The Vedas decree that when men perform yagnas on Earth, they make offerings through Agni, the mouth of the gods. Those oblations poured into the fire are carried directly to you and, in return, you grant them boons and blessings. A yagna is but a barter of energies that benefits everyone. A symbiosis that nurtures both gods and humans." 'We know that, Indra said. 'Humans are regularly conducting yagnas on Earth but none of their offerings are reaching us here." "Why not?' 'It's the fire god. He's failing us,' Kamadeva protested.Agni came forward and folded his hands. 'I am truly to blame, Para Pita. I can burn the offerings made by men but I am unable to transport them to the devas. I do not possess that skill. Everyone here is starving because of me. What should I do?" Brahma was puzzled now. He scratched his four heads but they yielded no solution. He then consulted Vishnu, who advised him, 'Pray to Prakriti Mother Nature. She will come to our aid.' The Creator invoked Prakriti, who immediately spawned a young goddess to preside over the ritual offerings. She would become the cosmic conduit to transmute oblations and make this vital exchange possible between Earth and heaven. You are our lifeline now," Brahma blessed her. What has Prakriti named you?" Swaha."

Besides Ganesha's wisdom, the story tells us about the importance of parents in our lives. Till we are able to stand on our own two feet; to getting educated and finding a job they supported us through thick and thin. When we become independent, we must continue to acknowledge their presence, albeit in their old age and serve them to the best of our abilities. Parents are living Gods and our world revolves around them. The debt remains unpaid long after they are gone.

32

The Creator announced, "Henceforth, every offering made to Agni in a yagna must end with the word "Swaha". If her name is not chanted, the libation poured into the fire will not reach the gods. Any incantation without "Swaha" shall be like a tree without fruit, a snake without venom and a man without knowledge. The yagna shall remain incomplete and prove inauspicious.' The devi had saved the devas. Brahma gave Swaha in marriage to Agni and the two remained forever united. 33

The Story of a Yogi

Minthe

One evening, in 17th century South India, a

M” is for Mint

Nawab was enjoying with his begums in his

In Greek mythology, the goddess Persephone suspected her husband Hades, god of the underworld, of having a tryst with a nymph named Minthe. In a

MINTHE Chthonic Naiad nymph

garden. Suddenly, out of nowhere, a naked Sanyasi walks into the garden. While the disgusted begums shriek obscenities, the Sanyasi walks on, as if in trance, oblivious to sight and

jealous rage, she transformed the lovely nymph into a

sound. The angry Nawab orders his guards to chop the

perennial herb.

Sanyasi's arms. The guards obey and chop off one of his arms. The severed arm falls onto the

In ancient Greek religion and Greek mythology,

ground. But the Sanyasi neither flinches, nor

Minthe (also spelled Menthe, Mintha or Mentha;

shouts. He continues to walk-on in his trance,

Ancient Greek:) is an Underworld Naiad nymph

feeling and showing no pain, though his bloodied

associated with the river Cocytus. She was beloved by Hades, the King of the

Close -up of mint leaves Greek

Miv0n

transformed into a mint plant by either his wife

Abode

Underworld

Persephone or her mother Demeter.

Symbols

Mint

Underworld, and became his mistress, but she was

The plant was also called by some as Hedyosmos which means "sweet-smelling”.

Personal information

The Story

Parents

In Greek mythology, Minthe was a beautiful nymph associated with the underworld. One day, Hades, the

Consort

arm is bleeding like a tap. Leave your thoughts here... The Nawab and his guards realize this man is no ordinary person. He is some kind of a Siddha - one who, through intense sadhana, has acquired Siddhis - mystical powers. They pick up the severedarm from the ground, run up to the Sanyasi and beg for his forgiveness. The naked Sanyasi is, till that moment, unaware of the loss of his arm. He smiles, forgives them, gently puts back his arm in its rightful place, and walks on as if he had just dropped his handkerchief and it had been returned to him. The Yogi's name was Sadashiva Brahmendra and he was a Nirkaya Yogi - one who had transcended his physicality and had no sense of his body any more. (Kaya = Body, Nirkaya = No body). Since he had no

Cocytus (father)

communion with the Absolute.

Hades

One day, Sadasiva Brahmendra was sitting in deep meditation on the banks of River Kaveri. Suddenly the

sense of his body, he had no need for clothes any more. Nirkaya Yogis roamed blissfully naked, in constant

god of the underworld, was captivated by her charm

river flooded and people saw water submerge him completely. They thought he was drowned. But three

and beauty. Their secret affair, however, was

months later, when the floode subsided he was still sitting in the same posture, still in trance. A while later, he

discovered by Persephone, Hades' wife. Consumed

just stood up and walked away!

by jealousy, Persephone transformed Minthe into a

Unbelievable, huh?

fragrant herb – the plant we now know as mint. Unable

There are many such stories from the lore of Sadasiva Brahmendra. Such stories cannot be read or

to undo the curse, Minthe became a reminder of the

understood with belief. They can only be grasped with faith. Because belief is based on logic, a necessary

consequences of forbidden love. The aroma of mint

tool for survival, but woefully inadequate for expansion into other dimensions. Faith, on the other hand, is that

that lingers in the air is said to be the everlasting essence of Minthe in the world of mortals.

dimension of intelligence, that has transcended the intellect and its able tools -logic and belief. This great land called Bharat is full of such stories, one more amazing than the other. Wasn't it Mark Twain who said after his trip to lndia- Everything that can be done by man or God, has been done in this land!

34

35

Can Gay Marriage be a part of Hindu Culture?

who became a hermit after his children had children of their own. For marriage was not just about producing babies — it was about feeding society, the sages, the gods, the ancestors, the family, the

Hindu culture forbids divorce. Yet Hindu

guest, the beggar, the stranger.

personal laws permit divorce. Hindu culture

How would Hindu scriptures enable a gay man to be a householder? For children, he could adopt, as

allows gods, and men, to have many wives.

many childless kings such as Janaka did. Or he could request a woman to lend him her womb as

Yet Hindu personal laws forbid polygamy.

Parasara did. Or take advantage of in-vitro fertilisation, which is how Vibhandaka fathered

Does it mean Hindu personal laws are opposing Hindu culture? Or, does it mean they

Rishyashringa muni.

are being true dharmashastras, updating

But what about life-partner? Vedic Sanskrit has the dual pronoun, besides the singular and plural,

responsible social behaviour, i.e. dharma to

indicating value for the pair. Sacred literature venerates the idea of bandhu (companion) and

suit the times (kala), the place (sthan) and the people (patra)? There are separate marriage laws for diverse communities in India, such as Hindu and

sakha/sakhi (close friend) as being greater than a mere friend (mitra). Gods always appeared in pairs. But the pair was not always heteronormative. In Rig Veda, Indra appears always with Agni or Soma. All

Muslim. Why can’t there be a separate same-sex union law for queer people?

three are male. Mitra always appears with Varuna (both are male), and both spill semen in a pot (in-

Dharma-shastras are guided by Vedas, and shaped by tradition and wisdom. They have changed

vitro fertilisation?) on seeing Urvashi and father the sages Agastya and Vasishtha. In temples and

constantly from Apasthamba to Vasishtha, Gautama to Manu to Yagnvalkya, responding to contemporary economic, political and social challenges. This dynamism differentiates dharmashastras from the biblical idea of God’s commandment that is carved in stone. What is okay for Ram (only one wife) is different from what is okay for Krishna (many wives) as the two exist in different periods, in different contexts.

household rituals, we find goddesses with female companions (Nanda-Sunanda, Chamunda-Chotila, Tara-Tarini, Jyestha-Kanishtha, Ganga-Gauri). In Agama temple literature, all gods must be married to form the divine pair (dampatya) — Shiva marries Shakti, Vishnu marries Lakshmi, but while Shiva merges with Shakti to be Ardhanareshwara, he also merges with Vishnu to be Shankar-Narayana, or Hara-Hari. With Shakti, he fathers Ganesha and Kartikeya, with Vishnu who takes the form of the female Mohini, he fathers Ayyappa. In Tantra, Lakshmi is invoked as one who adores Vishnu in his

Hindu scriptures keep saying even though all life is expression of the divine (atma), the jungle is ruthless

female Mohini form. Heteronormativity was never important in temple expressions. We can see them

and hierarchical: Life feeds on life, and the strong on the weak. Dharma is ability to reverse this instinct,

literally or metaphorically, depending on how spiritually primed we are to handle diversity and

as Manu does, literally saving the small fish from big fish, in Vedic Brahmana and Puranic literature. The

difference.

dharma-shastras were meant to give social expression to this civilising idea.

Hindu mythology celebrates the diverse. Apsaras like Menaka give birth to children but abandon them

Thus compassion and reciprocity form the basis of dharma. This view of Hinduism that was

on forest floors. These children are raised by single men like Kanva. Hardly heteronormative. Women

conveniently ignored by the European translators of the Hindu scriptures, who were determined to

like Jatila have many husbands. Men like Bhringi prefer to adore only Shiva, rejecting Shakti. Yoginis

show Hindus as savages, following jungle law, in need of European civilising. They pigeon-holed Manu

refuse to have husbands and live in female collectives, Nath-jogis refuse to have wives and live in male

as casteist. But Manu in his dharma-shastra and Chanakya in his artha-shastra state that gods

collectives. There is a space for everyone, provided it is based on dharma: Compassion, reciprocity

appointed kings to prevent jungle law from seeping into society. Through dharma, the king (raja)

and social responsibility. Time the judiciary hears the cries of dharma to expand the Indian State to gay

prevents anarchy (arajakta).

and lesbian couples wanting to start a household legitimately.

Based on the idea of rebirth, marriage is important in dharma-shastras because it enables humans to

Based on the article Published on 27th September, 2020, in Mumbai Mirror.

repay their debt to ancestors by creating and sustaining the next generation. Thus rotates the wheel of life and death. Dharma-shastras see celibacy and renunciation as inferior to the householder stage (grihasthaashrama). All rishis had to marry, at the very least to produce a child. Sages like Kardama abandoned their wives after the child was born. This was allowed. But greater respect was for the man 36

37

Fantasy/Fairy Tales Fantasy/Fairy Tale about the background image

The Wishful Harvest Fairy Tale From India Once upon a time in India, there lived a humble farmer named Raj. One day, while tending to his fields, he discovered a magical seed. Intrigued, he planted it, and within days, a magnificent tree with

Hansel and Gretel – The story of two siblings who get lost in the woods and stumble upon a candy house inhabited by a witch.

golden leaves and shimmering fruits grew. This tree, known as the "Wishful Tree," granted anyone who approached it with a pure heart one wish. Raj's village flourished as people selflessly wished for the well-being of their community, teaching them the true power of kindness and unity. And so, the Wishful Tree became a symbol of hope and harmony, echoing its enchanting magic throughout the land. Enchanted Reels: Timeless Fairy Tales on the Silver Screen” Numerous movies have been created based on fairy tales, often bringing these classic stories to life with a fresh perspective. Here are a few examples: 1. Cinderella (1950): Disney's animated classic is based on the timeless fairy tale of a young woman mistreated by her stepmother and stepsisters who gets a chance to attend the royal ball with the help of her fairy godmother. 2. Beauty and the Beast (1991): Another Disney animated classic, this film is an adaptation of the French fairy tale "La Belle et la Bête." It tells the story of Belle, who finds herself in an enchanted castle with a prince cursed to live as a beast. 3. Snow White and the Seven Dwarfs (1937): This iconic Disney film is based on the German fairy tale "Schneewittchen" by the Brothers Grimm, featuring the story of Snow White and her interactions with seven dwarfs.

Fantasy/Fairy Tales is a genre of fiction that commonly uses magic and other supernatural phenomena as a primary element of plot, theme, or setting. Many works within the genre take place imaginary worlds where magic is common. Fantasy is generally distinguished from the genres of science fiction and horror by the expectation that it steers clear of scientific and macabre themes, respectively, though there is a great deal of overlap between the three, all of which are subgenres of speculative fiction.Fantasy also includes fairy tales, stories of wizards, sorcerers, witchcraft, (etc.), and adventures like the Arabian tales and so on. E.g. Sinbad the sailor, Adventures of prince Ahmed,

4. Alice in Wonderland (1951): Inspired by Lewis Carroll's "Alice's Adventures in Wonderland" and "Through the Looking-Glass," Disney's animated film takes viewers on a whimsical journey with Alice through a fantastical world. 5. The Little Mermaid (1989): Disney's adaptation of Hans Christian Andersen's fairy tale follows Ariel, a young mermaid who dreams of living on land and falls in love with a human prince. 6. Sleeping Beauty (1959): Based on Charles Perrault's "La Belle au bois dormant," this Disney classic tells the story of Princess Aurora cursed to sleep until true love's kiss awakens her. 7. Frozen (2013): Loosely inspired by Hans Christian Andersen's "The Snow Queen," this Disney film follows the bond between two royal sisters in the fictional kingdom of Arendelle. 8. Shrek (2001): A comedic take on various fairy tales, "Shrek" subverts traditional storylines and characters while providing a humorous and heartwarming narrative. These films showcase the enduring popularity of fairy tales and their ability to captivate audiences across generations.

etc. 38

39

Fairy Tale from Alice in Wonderland (Adaption) Do you love Me?" Alice asked.

Hansel and Gretel German Fairytale In a quaint village nestled between towering trees, lived

"No, I don't love you!" replied the White Rabbit. Alice frowned and clasped her hands together as she did whenever she felt hurt.

Hansel and Gretel, siblings full of curiosity and mischief. The siblings faced tough times with their woodcutter father and a less-than-kind stepmother. Struggling with hunger, the stepmother hatched a plan to abandon them in the dark forest. Undeterred, Hansel overheard the plan and cleverly gathered

"See?" replied the White Rabbit. "Now you're going to start

shiny pebbles. As they ventured into the woods, he dropped the

asking yourself what makes you so imperfect and what did you

pebbles, creating a glimmering trail leading back home.

do wrong so that I can't love you at least a little. You know, that's why I can't love you. You will not always be loved Alice, there will be days when others will be tired and bored with life, will have their heads in the clouds, and will hurt

The stepmother, frustrated by their return, insisted on trying again. This time, Hansel relied on breadcrumbs. Alas, hungry birds devoured the crumbs, leaving the children lost amidst the trees. As night fell, they stumbled upon a peculiar sight – a gingerbread house adorned with candy windows and licorice fences. Tempted by hunger, they nibbled on the house, unaware that a wicked witch lived

you.

inside.

Because people are like that, they somehow always end up hurting each other's feelings,

The witch, with a sweet but sinister smile, invited them in. She revealed her plan to fatten them up for a

whether through carelessness, misunderstanding, or conflicts with themselves.

tasty feast. Resourceful Hansel and Gretel, however, turned the tables on the witch, outsmarting her at

If you don't love yourself, at least a little, if you don't create an armour of self-love and happiness around your heart, the feeble annoyances caused by others will become lethal and will destroy you. The first time I saw you I made a pact with myself: 'I will avoid loving you until you learn to love yourself.' "~

every turn. In a daring escape, they pushed the witch into her own oven, ending her wicked ways. With the witch defeated, they discovered treasures in her candy-filled abode. Guided by newfound courage and resilience, Hansel and Gretel found their way back home. Reuniting with their father, they shared their tale of triumph over adversity, turning a once grim chapter into a sweet and victorious story of wit and family bonds. And so, the village celebrated the clever siblings

Lewis Carroll's 1865 novel Alice's Adventures in Wonderland has been translated into 175 languages. The language with the most editions of the Alice in Wonderland novels in translation is Japanese, with 1,271 editions.

who turned a candy-coated nightmare into a tale of resilience and triumph. "When I examine myself and my methods of thought, I come to the conclusion that the gift of fantasy has meant more to me than any talent for abstract, positive thinking.”

Alice in Wonderland is considered one of the most popular children's books of all time. The characters and imagery have highlighted the fantasy genre, giving this book a lasting impact

Albert Einstein

in popular culture. Being so unique, many artists have produced their interpretation of the famous story.

40

41

Legend

Legend about the background image

Iconic legend, Robin Hood is a heroic outlaw who robbed from the rich to give to the poor in medieval England. His story has been popularized in books, movies, and TV shows.

Queen Mother: Legacy of legendary Tigress Machli The lanhhi Machli In the heart of Ranthambore National Park, an ancient and revered tigress named Machli held sway over the dense, emerald-hued forests. Her majestic presence echoed through the ages, a living embodiment of strength and resilience. The intricate patterns of her coat, adorned with mystical stripes, whispered tales of countless adventures, weaving a legacy that transcended the boundaries of time. The saga of Machli unfolded in the untamed wilderness, where, as a vulnerable cub, she received the tender and wise guidance of a mother who passed down the sacred knowledge of survival. In the shadow of towering trees and amidst the symphony of wildlife, Machli's fiery spirit ignited, and her hunting prowess blossomed, setting her on a destined path of greatness. News of Machli's extraordinary feats spread like wildfire, capturing the hearts of wildlife enthusiasts and researchers on a global scale. Legends were born, and documentaries immortalized her life, yet Machli remained steadfast in her true purpose – to rule over the expansive realm of Ranthambore, a kingdom of flora and fauna where she reigned as the undisputed queen. As the years unfolded, Machli faced formidable challenges that tested the very core of her being. Territorial disputes with rival tigers echoed through the ancient trees, and encounters with powerful prey pushed the boundaries of her strength. Yet, in each battle, she emerged victorious, earning the revered title of the Queen of Ranthambore. Her regal presence became a beacon, drawing photographers and safari-goers from far and wide, all yearning to witness the enchanting aura that surrounded Machli.

Legend (Latin, legenda," things to be read") is a narrative of human actions that are perceived both by teller and listeners to take place within human history and to possess certain qualities that give the tale verisimilitude. Legends may include miracles that are perceived as actually having happened, within the specific tradition of indoctrination where the legend arises, and within which it may be transformed over time, in order to keep it fresh and vital, and realistic. E.g. stories of living legends like Maharana Pratap, Mahatma Gandhi, Akbar, Atlantis, the lost island, etc

The passage of time etched its mark on Machli's noble form, leaving behind scars that told stories of battles fought and won. Undaunted by the challenges, she continued to command respect, evolving into a symbol of hope for endangered species teetering on the brink of existence. Conservationists marveled at her ability to adapt seamlessly to the ever-changing landscape, a true marvel of nature's resilience. Machli's illustrious legacy extended far beyond the bounds of her own bloodline. Her descendants inherited the majestic traits that defined her, continuing the lineage of the wild queen. The tigress transcended the realm of the ordinary, becoming a living legend whose story was intricately woven into the mystical tapestry of Ranthambore's rich history. Then, on a serene evening as the sun dipped below the horizon, casting a golden glow over the vast expanse of Ranthambore, Machli peacefully surrendered to the eternal cycle of life. Her memory lingered, not merely in the rustling leaves or the distant echoes of roars, but as an indelible imprint upon the very soul of the wilderness. Ranthambore, forever changed by the reign of Machli, stood as a testament to the enduring spirit of the wild—a legend that would resonate through the ages, inspiring awe and reverence for the untamed beauty that graced the heart of the national park. KEY HIGHLIGHTS Machli was a dominant matriarch tigress of Ranthambhore who was also called Lady of the Lake. She gave four male and five female cubs in her lifetime. Her family tree shows that around 63 tigers in Ranthambhore carry her genes.

42

43

The legend: Mohommad Ali

Legends from the World

Do not look down on anyone. Before we left for Italy I tried again to meet Sugar Ray. I walked all the way up Fifth Avenue to 125th Street. I wanted to get his autograph and tell him that I was on my way to the Olympics to win a gold medal.

Legends from the world 1) One of the world's captivating legends from Europe is that of King Arthur and the Knights of the Round Table. This timeless tale from medieval England tells of a legendary king

I wanted to tell him that I admired him, and that I was going

who wielded the magical sword Excalibur and, alongside his

to be the heayyweight champion of the world by the time I

noble knights, pursued ideals of chivalry, justice, and the quest

was twenty-one. When I arrived at the club I waited outside all day for Sugar Ray to get there. I didn't mind waiting; I

for the Holy Grail. The legend of King Arthur has inspired countless adaptations, reflecting themes of honor, friendship, and the eternal struggle between good and

would have stood outside all week if I had to.

evil.

It was about ten o'clock when he finally drove up. I was so

2) In the rugged mountains of Afghanistan, there exists a captivating legend known as "Rostam and

excited that for the first time in my life, I was speechless. When I pulled myself together, I walked up to Mr. Robinson and told him how far I had come just to see him and how long I had been waiting to get his autograph. I told him that I was going to be the heavyweight champion of the whole world, and that he was my hero. When I think back realize he never really looked at me. He gave me a quick pat on the shoulder and told me, 'Later, boy, I'm busy right now.' I was crushed. I couldn't believe he brushed me aside like that, especially after I had waited all day for him to show up. I felt as if my feet were made of cement. I couldn't move. I just stood there as I watched Sugar Ray Robinson turn his back to me and walk away.

Sohrab." This ancient Persian epic, embedded in Afghan folklore, narrates the tragic tale of Rostam, a mighty hero, and his unknowing son Sohrab. Bound by fate and entangled in a web of misunderstandings, their story explores themes of love, loyalty, and the complexities of family relationships. The legend of Rostam and Sohrab stands as a poignant reflection of the human condition, resonating with audiences across cultures.

3) In the rich tapestry of Sri Lankan folklore, the legend of "Kuveni and Vijaya" is woven. It recounts the arrival of Prince Vijaya, the legendary founder of the Sinhala nation, on the island of Lanka. Vijaya, banished from India, encountered the enchanting Kuveni, a Yaksha princess. Their union marked the beginning of Sinhalese civilization, blending myth and history. The story echoes through time, shaping

Although I felt hurt and let down, I decided that I wouldn't let my disappointment get the best of me. I was going to be different when I became a great boxer. I would be the kind of champion that fans

cultural narratives and connecting the people of Lanka to their ancient roots.

could walk up to and talk to. I would shake their hands and sign every autograph, even sign some

4) In the rich tapestry of Japanese folklore, the legend of "Momotaro" stands out. Momotaro, meaning

autographs in advance so that when I was in a hurry, I could still hand them out to people, assuring

"Peach Boy," tells the story of a child born from a giant peach found floating down a river. Raised by an

everyone went home happy. I was going to go out of my way to show my fans how important they were,

elderly couple, Momotaro grows into a strong and kind young man. Setting out on a journey, he befriends

and how much I appreciated them. At that moment, I vowed never to turn a fan away. I didn't want

talking animal companions—a dog, a monkey, and a pheasant. Together, they embark on a quest to

anyone to feel the disappointment and hurt that I felt that night.

defeat a band of ogres and bring peace to their land. Momotaro's tale symbolizes bravery, camaraderie,

I was always going to make time for the people who looked up to me; especially children. I knew that

and the triumph of good over evil in Japanese culture.

when I became a champion and I knew that would-l was going to remember what it was like before I

5) One enchanting legend from Italy is the tale of "The Fountain of Trevi" in Rome. According to popular

made it big. I wasn't going to forget where 1 came from. l was going to be my own kind of champion, a

folklore, if you throw a coin into the Trevi Fountain, you ensure your return to the Eternal City. The legend

champ to all people everywhere in the world. And no matter how high I climbed up the ladder of

gained prominence with the iconic 1960 film "La Dolce Vita." Today, visitors from around the world partake

success, I was going to view the world without looking down on anyone. And wasn't going to forget the

in this tradition, tossing coins over their shoulders into the fountain's shimmering waters, perpetuating the

boy that I once was.

belief in the magic and allure of the eternal city of Rome.

Muhammad Ali

6) A prominent legend from Germany is the story of "Faust." This timeless tale, popularized by Johann Wolfgang von Goethe's dramatic work, follows the scholar Faust, who makes a pact with the devil, 44

45

Mephistopheles, exchanging his soul for unlimited knowledge and worldly pleasures. Faust's journey explores themes of ambition, the pursuit of knowledge, and the consequences of succumbing to temptation. The legend of Faust has become a literary classic, symbolizing the eternal struggle between good and evil and the complexities of the human spirit. 7) In the rich mythology of Indonesia, the legend of "Bawang Merah and Bawang Putih" (Red Onion and White Onion) is a beloved tale. It revolves around two stepsisters, one kind-hearted (Bawang Putih) and the other malicious (Bawang Merah). The story unfolds with themes of jealousy, redemption, and magical elements, including a fish that plays a crucial role. "Bawang Merah and Bawang Putih" is a cultural gem, reflecting the values of kindness and the triumph of good over evil in Indonesian folklore. 8) In the folklore of Fiji, one intriguing legend is that of "Ratu Udre Udre." Ratu Udre Udre was a powerful and fearsome chief known for his insatiable appetite for human flesh. Legend has it that he built a giant

independence and resistance against oppression, shaping the cultural identity of the nation. 12) The Andaman and Nicobar Islands, with their rich cultural diversity, have legends woven into their folklore. One such legend is that of "Tale of the Origin of Andamanese Tribes." According to local beliefs, the first inhabitants of the islands were created by the god Puluga. Legend has it that Puluga kneaded clay and formed it into human figures, which he then brought to life. These early people became the ancestors of the various tribes found in the Andaman and Nicobar Islands. The legend reflects the deep connection between the islanders and their environment, emphasizing their origin from the very land they inhabit. While there are various other folktales and myths in the region, this creation story is a significant part of the cultural narrative of the Andaman and Nicobar Islands. Telling legends to children in modern times remains important for several reasons: 1. Cultural Heritage: Legends often carry cultural values, traditions, and historical perspectives. Sharing

pyramid of human skulls as a testament to his conquests. His story is both chilling and captivating, reflecting

these stories helps preserve a society's heritage, fostering a sense of identity and continuity.

the mysterious and mythical elements embedded in Fijian culture. The legend serves as a reminder of the

2. Moral Lessons: Many legends impart valuable moral lessons. They often feature characters facing

complex history and traditions of the Fijian people.

dilemmas, making choices, and dealing with consequences, offering children insights into ethical behavior and decision-making.

9) Bhagat Singh was a legendary figure in the Indian independence movement. Born in 1907, he became a symbol of resistance against British colonial rule. Bhagat Singh, along with his associates, sought to protest against oppressive laws and the Jallianwala Bagh massacre. One defining moment was the Assembly bombing in 1929, where Bhagat Singh and Batukeshwar Dutt threw non-lethal smoke bombs to

3. Imagination and Creativity: Legends are inherently imaginative and can spark creativity in children. Hearing about mythical creatures, heroic adventures, and magical realms encourages imaginative thinking and creative expression.

protest repressive ordinances. Later, Bhagat Singh was arrested for his involvement in the killing of British

4. Language Development: Listening to stories enhances language skills. Exposure to diverse vocabulary

police officer J.P. Saunders. During the trial, he and his fellow revolutionaries used the courtroom as a

and sentence structures in legends contributes to a child's linguistic development.

platform to advocate for India's independence. Despite facing the death penalty, Bhagat Singh remained steadfast in his commitment to the cause. His sacrifice became a rallying point for the freedom movement. On March 23, 1931, at the age of 23, Bhagat Singh was executed. His legacy lives on as a symbol of courage and patriotism in India's struggle for independence. 10) One captivating legend from Asia is the ancient Chinese tale of "Hou Yi and the Ten Suns."

5. Cultural Diversity: Legends from different cultures expose children to the diversity of the world. This promotes an understanding and appreciation of various cultures, fostering tolerance and inclusivity. 6. Connection to Nature: Many legends involve natural elements, animals, or environmental themes. Sharing such stories can instill a sense of connection and responsibility towards the environment in children.

According to the myth, ten suns existed in the sky, causing scorching heat and drought. Hou Yi, a skilled

7. Family Bonding: Storytelling is a powerful way to connect generations. Sharing legends can strengthen

archer, was chosen by the Jade Emperor to shoot down nine of the suns, restoring balance to the world.

family bonds as older family members pass down cultural stories to younger ones.

However, after this feat, Hou Yi faced new challenges, including a quest for an elixir of immortality. The story intertwines themes of sacrifice, love, and the consequences of seeking divine powers. Hou Yi's wife, Chang'e, ultimately becomes a central figure in the narrative, as she drinks the elixir to prevent its misuse. The legend of Hou Yi and the Ten Suns remains a significant cultural and moral tale in Chinese mythology, emphasizing the importance of balance, humility, and the inevitable consequences of one's actions. 11) Switzerland is rich in folklore, and one of its notable legends is that of "William Tell." The story

8. Historical Context: Legends often have historical roots or are influenced by historical events. They can provide children with a sense of the past, helping them understand the context of their cultural and societal development. In essence, storytelling, including legends, remains a timeless and effective method to pass on cultural values, nurture imagination, and impart important life lessons to the younger generations.

revolves around a Swiss marksman named William Tell, who lived during the early 14th century when

Countries with ancient civilizations, diverse cultures, and a strong oral storytelling tradition often boast a

Switzerland was under Austrian rule. The legend tells of Tell's refusal to bow to a hat placed on a pole by

vast array of legends. China, India, Greece, Egypt, Japan, and many countries in Europe have extensive

the Austrian authorities, leading to his arrest. To secure his release, Tell was challenged to shoot an apple

folklore and legendary tales deeply ingrained in their cultural histories.

off his son's head with his crossbow. He succeeded with great precision, showcasing his skill and determination. This act sparked a rebellion against Austrian rule, ultimately contributing to Switzerland's struggle for independence. William Tell's courage and marksmanship have made him a symbol of Swiss 46

Each culture has its unique myths, fables, and legendary figures, contributing to the global tapestry of storytelling. The prevalence of legends is a testament to the human inclination to use narrative to convey cultural values, explain natural phenomena, and explore the mysteries of existence. 47

Epic

Epic about the background image

Epochs of Epics: Timeless Narratives Shaping World Cultures Several famous epics from different cultures have stood the test of time, becoming integral to the cultural, religious, and literary heritage of their respective societies. Here are a few notable epics and reasons for their enduring significance: 1. The Iliad and The Odyssey (Homer - Ancient Greece): These Greek epics are foundational works of Western literature. "The Iliad" narrates the Trojan War, while

Greatest epic in the world -The MahabharataMahabharata is the world's largest epic, in

"The Odyssey" follows the adventures of Odysseus on his journey home. They

its present form it contains eighteen chapters and thousands of verses. It tells us about

explore themes of heroism, honor, and the consequences of hubris.

the story of the Pandavas, the Kauravas, and the other important kings who were once

2. The Mahabharata (Ved Vyasa - India): An epic of ancient India, the Mahabharata is not only the longest

ruled the great land known as the bharata-varsha.

epic poem but also contains the Bhagavad Gita, a sacred dialogue between Prince Arjuna and Lord Krishna. It addresses ethical dilemmas, duty, and the nature of existence. 3. The Ramayana (Valmiki - India): Another ancient Indian epic, the Ramayana, narrates the life of Prince Rama, his wife Sita, and his loyal companion Hanuman. It explores the concepts of dharma, virtue, and the battle between good and evil. 4. The Aeneid (Virgil - Ancient Rome): Commissioned by Emperor Augustus, "The Aeneid" connects the founding of Rome to the Trojan hero Aeneas. It glorifies Roman virtues and serves as a national epic, emphasizing the importance of destiny and duty. 5. The Epic of Gilgamesh (Anonymous - Mesopotamia): One of the earliest known works of literature, this Sumerian epic follows Gilgamesh's quest for immortality. It explores themes of friendship, the fear of death, and the human condition. 6. The Divine Comedy (Dante Alighieri - Italy): Written in the early 14th century, Dante's work takes the reader on a journey through Hell, Purgatory, and Paradise. It's a profound exploration of theology, morality, and the consequences of one's actions.

Epic (from the Ancient Greek adjectiv (epikos), from (epos) "word, story, poem") is a lengthy narrative poem, ordinarily concerning a serious subject

7. The Tale of Genji (Murasaki Shikibu - Japan): Considered the world's first novel, "The Tale of Genji" follows the romantic escapades of Hikaru Genji, a nobleman. It offers insights into court life, relationships, and the

containing details of heroic deeds and events significant to a culture or nation.

complexities of human emotions.

Oral poetry may qualify as an epic. In the East, the most famous works of epic

These epics have endured for various reasons, including their exploration of universal themes, the depth of their

poe`try are the Ramayana and Mahabharata, with the Iliad and the Odyssey,

characters, and their contributions to the cultural and literary foundations of their respective civilizations.

which form part of the Western canon, fulfilling the same function in the

“Sacred Sagas: Unveiling Epics that Illuminate the Spiritual Tapestry of Religions"

Western world.

1.) The most significant epic related to Christianity is the **Bible**, which consists of various books, including historical narratives, poetry, prophecy, and teachings. Two major sections within the Bible contain narratives that could be considered epic: 1. The Old Testament: This section includes foundational stories such as the creation of the world, the Exodus, the reign of King David, and the prophets' writings. Key figures like Adam and Eve, Noah, Moses, and David play central 48

roles in these narratives.

49

2. The New Testament: The life, teachings, death, and resurrection of Jesus Christ form the epic core of the New Testament. The Gospels (Matthew, Mark, Luke, and John) recount Jesus' life, emphasizing his teachings, miracles, and the redemptive significance of his crucifixion and resurrection. The Bible has profoundly influenced Western literature, art, and culture. Its narratives provide moral, spiritual, and theological guidance for Christians worldwide, and the characters and stories within it are foundational to Christian faith and tradition.

3. **Spiritual Guidance: The Guru Granth Sahib serves as a guide for Sikhs on how to live a truthful and righteous life. It contains teachings that encourage selfless service, meditation, and devotion to God. Sikhs consider the Guru Granth Sahib a living and perpetual Guru. It holds a central place in Sikh worship, and Sikhs turn to it for spiritual guidance and inspiration. While the Guru Granth Sahib may not fit the conventional definition of an epic, it is a revered scripture that encapsulates the spiritual and ethical teachings of Sikhism, providing a source of guidance and inspiration for the Sikh community.

Story from the Epic Mahabharata Once, on the battlefield of Kurukshetra, as the great war was about to commence, Prince Arjuna stood in his chariot,

2.) One of the most famous and revered epics in Hinduism is the **Mahabharata**. Attributed to the sage Vyasa, the

despondent and torn by moral conflict. He faced the daunting task of fighting against his own relatives, revered teachers,

Mahabharata is one of the longest epic poems in the world and a cornerstone of Hindu literature and philosophy.

and beloved friends.

Key aspects of the Mahabharata :

In his inner turmoil, Arjuna turned to his charioteer, who happened to be Lord Krishna incarnate. Overwhelmed by grief and

1. Length and Content: The Mahabharata consists of around 100,000 shlokas (verses) and is divided into 18 parvas

bring.

(books). It is more than just an epic; it contains a wide range of content, including mythology, philosophy, and guidance on dharma (righteousness).

doubt, Arjuna expressed his reluctance to fight, questioning the righteousness of the war and the consequences it would

In response, Lord Krishna began to impart profound wisdom, and thus began the sacred dialogue known as the Bhagavad Gita.

2. Storyline: The central narrative revolves around the Kurukshetra War between two factions of a royal family, the Pandavas, and the Kauravas. It explores complex family relationships, political intrigue, and the consequences of war.

Krishna spoke of the eternal nature of the soul (atman), emphasizing that life and death are but fleeting moments in the soul's infinite journey. He explained the concept of duty (dharma) and the necessity of fulfilling one's responsibilities without attachment to the results.

3. Bhagavad Gita: A significant portion of the Mahabharata is the Bhagavad Gita, a sacred dialogue between Prince Arjuna and Lord Krishna, who serves as his charioteer. The Gita addresses important philosophical and ethical questions, including duty, righteousness, and the nature of existence. 4. Characters: The Mahabharata introduces numerous characters, each with distinct personalities and moral

Krishna introduced Arjuna to the paths of selfless action (Karma Yoga), devotion (Bhakti Yoga), and knowledge (Jnana Yoga). He elucidated that true wisdom lies in realizing the oneness of all existence and understanding the impermanence of the physical body. As the teachings unfolded, Arjuna's perspective transformed. He began to comprehend the universal principles governing

dilemmas. Notable figures include Arjuna, Draupadi, Karna, and Bhishma.

life, death, and the purpose of existence. With clarity and resolve, Arjuna embraced his duty as a warrior, understanding

5. Themes: Dharma (righteousness), karma (action and consequence), and the pursuit of moksha (liberation) are

that it was his role to fight for justice without attachment to success or failure.

prominent themes in the Mahabharata. The epic delves into the intricacies of human nature and the challenges of

The Bhagavad Gita, a discourse that spanned eighteen chapters, left Arjuna enlightened and ready to face the challenges

living a virtuous life. The Mahabharata is not just a historical or mythological narrative; it is a repository of wisdom and

ahead. The profound wisdom shared by Lord Krishna continues to guide seekers on their spiritual journeys, offering timeless

a guide for righteous living. Its influence extends beyond religious boundaries, impacting literature, art, and cultural

insights into the nature of life, duty, and the path to self-realization.

practices in the Indian subcontinent.

Epic of Achilles

3.) In Islam, the **Quran** is considered the ultimate holy book and contains the revelations received by the Prophet Muhammad from Allah (God). While the Quran itself is not an epic in the traditional sense, it serves as a comprehensive guide for Muslims, covering various aspects of life, morality, and spirituality. Given the nature of Islamic religious texts, they do not follow the narrative style commonly associated with epics. Instead, the Quran is revered for its poetic and linguistic excellence, serving as a source of guidance and inspiration for millions of Muslims worldwide. 4.) In Sikhism, the **Guru Granth Sahib** is the central religious scripture and is considered the eternal Guru by Sikhs. While it doesn't conform to the traditional narrative style of epics, it holds immense significance in Sikh religious and spiritual life.

One of the world-famous European epics is the **Iliad** attributed to the ancient Greek poet Homer. Let's delve into a story from this epic: The epic centers around the Trojan War, and a poignant episode involves the hero **Achilles**. As the Greeks besiege the city of Troy, Achilles, the greatest of the Greek warriors, withdraws from the battle in a fit of rage and grief. His close friend Patroclus, seeking to boost the Greek morale, dons Achilles' armor and enters the fray. In the heat of battle, Patroclus encounters the Trojan prince Hector, and a fierce duel ensues. Despite his valor, Patroclus is eventually killed by Hector, and the news of his death reaches Achilles. Consumed by grief and remorse for his absence, Achilles decides to rejoin the battle to avenge Patroclus. Driven by fury, Achilles confronts Hector in single combat. In a fierce duel, Achilles proves to be the superior warrior and

Key features of the Guru Granth Sahib:

ultimately slays Hector. However, instead of bringing closure, this act intensifies Achilles' inner turmoil as he grapples with

1. Compositions: The Guru Granth Sahib consists of hymns and writings by Sikh Gurus, saints, and other spiritual leaders. The hymns are arranged in musical measures known as ragas. 2. Universal Themes: The scripture addresses universal themes such as devotion, equality, humility, and love for God. It emphasizes the oneness of God and rejects distinctions based on caste, creed, or gender. 50

the cost of revenge and the fragility of human life. This episode from the Iliad reflects on themes of heroism, the consequences of pride and wrath, and the human condition. The tragic story of Achilles and Patroclus has resonated through the ages, influencing not only literature but also art, drama, and philosophy in Western culture.

51

The Story ‘ZOPA’ 'Zone of possible Agreement ' In the Mahabharata, you come across various instances where

Fable

Fable about the background image

negotiation skills are on display. The Kauravas had banished the Pandavas for thirteen long years. The only way to avoid war was to arrive at a settlement.

"The Raven and the Fox" is a fable by Jean de La Fontaine about a fox who flatters a raven to steal his food. In the story, the fox compliments the raven's beauty and asks if his

Krishna goes to Hastinapur as a mediator. In what can be termed as a fine example of sustained negotiations, Krishna requests the Kauravas to return Indraprasta to the Pandavas. Duryodhana refuses outright. Then Krishna drops his

voice is as beautiful as he is. The raven forgets that his voice is a croak and opens his beak, dropping his food. The fox then steals the food and says, "O raven, you do have a voice, but no brains to go with it!"

demand for Indraprastha and asks for five villages so that both parties could live peacefully. Let alone five villages, the inflexible Duryodhana declares that he would not yield an inch of land to the Pandavas. In a last ditched effort, Krishna explains the collateral damage a war would cause. He further goes to say that the confrontation would signal the beginning of the end of the kauravas and should be avoided at all costs. His repeated attempts to negotiate falls on deaf ears. Compounding the matter is the sightless Dritarashtra whose unassertiveness doesn't help the cause either.Though Krishna's efforts go in vain, he employs every possible strategy from scaling down his demands to educating Duryodhan on the spoils of

Fable is a literary genre; it is a succinct fictional story, a short tale in prose or

war.

verse, that features animals, mythical creatures, plants, inanimate objects or

For Duryodhana, his ego clouds a realistic approach to the problem. Not one but two solutions are presented to him by Krishna which he dismisses disdainfully without giving a thought.His obstinacy becomes a hindrance to a negotiated settlement. Had he been reasonable and believed in 'give and take', there wouldn't have been a Kurukshetra.

forces of nature which are anthropomorphized (given human qualities), and that illustrates a moral lesson (a "moral"), which may at the end be expressed explicitly in a pithy maxim.Aesop was a Greek writer credited with a number of fables. In many of the tales, animals speak and have human characteristics. E.g: Ant and the Dove, the Hare & the Tortoise. Other authors of Fables include

ZOPA or the zone of possible agreement, is a term used in negotiations for finding common ground

La Fontaine and Arnold Lobel.

between the parties. Sadly, there was no ZOPA in Duryodhana's dealings. 52

53

The Monkey and The Crocodile This story is often classified as a moral fable because it imparts lessons about the consequences of deceit, greed, and betrayal. The monkey's wit and ability to navigate through the crocodile's cunning intentions highlight the importance of intelligence and resourcefulness in overcoming challenges. A long time ago, there was a monkey who lived in a roseapple tree by the side of a river. He lived alone, but was very happy. One day, a crocodile came out of the river. He swam up to the tree and told the monkey that he had travelled a long distance and was in search of food as he was very hungry. The kind monkey offered him a few rose apples. The crocodile thanked him and asked him if he could visit the monkey again.

The Story of 108 Snails on Buddha’s head (Adapted) One day, Lord Buddha was roaming around. He began to ponder so he sat down under a tree and started meditating . He became so immersed in his thoughts that he didn’t notice the time. As time passed by, the sun rays were directed to his bald head. At that moment, a snail was making its way along the ground. Snail noticed that the Buddha was meditating on that hot Sunny day. Even though he sat under the tree, the sun rays were directed towards his head. Snail thought that the Buddha’s head was soon going to become a distraction and it would be hard for him to concentrate. Without a second thought, Snail made its way up to the Buddha’s head and sat there, with his mucous body cooling the Buddha’s smooth and bare skin. Other snails also followed the first one, went up to the head and sat down there. Snails on the head looked

“You are always welcome,” said the monkey.

like a neat cap of spiral shells.

After that, the crocodile started visiting the monkey every day. They would share rose-apples and talk about everything they knew. The crocodile told the monkey that he had a wife and that they lived on the other side of the river. So the generous monkey plucked many rose-apples and gave them to the crocodile for his wife.

Snail’s cool and damp bodies helped to maintain the Buddha’s meditation continue for hours. The snail became parched and dry due to the intense heat of Sun rays.

The crocodile’s wife loved the rose-apples, but she grew jealous of her husband spending so much time away from her, in the company of his new friend. She pretended as if she did not believe that her husband, a crocodile, could be friends with a monkey. The crocodile convinced her of his friendship with the monkey.

Later on in the evening when Buddha stood from the meditation, he learned that he was wearing a cap of 108 snails, all of whom had given their lives to make a

The crocodile’s wife thought to herself, “If the monkey eats only these sweet rose-apples, his flesh must be sweet too. He would be a delicious dinner.” So she asked her husband to invite his friend home so that she could meet him. But the crocodile was not happy about inviting his friend home. So the wife thought of a plan. She pretended to be very ill and told the crocodile that the doctor had said that she could get well only if she ate a monkey’s heart. If her husband wanted to save her life, he must bring her his friend’s heart. The crocodile was stupid enough to believe his wife. But the thought of killing his friend made him very unhappy. He did not want to harm his friend. At the same time, he did not want his wife to die his love towards his wife made him happy. The crocodile turned back and swam as fast as he could to the tree. When they reached, the monkey climbed up the tree to safety. He looked down at the crocodile and said, “Now you can go back to your wicked wife and tell her that her husband is the biggest fool in this world. Your foolishness has no parallel. You were ready to take my life because of an unjust demand from your wife. Then you were stupid enough to believe me and brought me back to the tree.”

distraction-free environment for Buddha’s path to enlightenment. Since snails had given their lives for the Buddha, they are now honored as martyrs. Hence they are displayed on Buddha statues to remind us of their sacrifice. What are the Jataka tales of Buddha? The Jataka tales are a voluminous body of literature native to India concerning the previous births of Gautama Buddha in both human and animal form. The future Buddha may appear as a king, an outcast, a god, an elephant—but, in whatever form, he exhibits some virtue that the tale thereby inculcates.Often, Jataka tales include an extensive cast of characters who interact and get into various kinds of trouble -

Moral: A wise enemy is better than a foolish friend.

whereupon the Buddha character intervenes to resolve all the problems and bring about a happy ending.

(Story Source: Panchatantra Vishnu Sharma) 54

55

languages, Vidyapati in Sanskrit) or The Morall Philosophie of Doni (English, 1570).Most European

The Panchtantra Way

versions of the text are derivative works of the 12th-century Hebrew version of Panchatantra by Rabbi Joel. In Germany, its translation in 1480 by Anton von Pforr [de] has been widely read.Several versions of the text are also found in Indonesia, where it is titled as Tantri Kamandaka, Tantravakya or Candapingala and consists of 360 fables. In Laos, a version is called Nandaka-prakarana, while in Thailand it has been referred to as Nang Tantrai.

About the Panchatantra

Modern Era

One of India's most influential contributions to world literature, the Panchatantra (also

It was the Panchatantra that served as the basis for the studies of Theodor Benfey, the pioneer in

spelled Pañcatantra or Pañca-tantra)

the field of comparative literature.His efforts began to clear up some confusion surrounding the

consists of five books of animal fables and

history of the Panchatantra, culminating in the work of Hertel (Hertel 1908, Hertel 1912a, Hertel

magic tales (some 87 stories in all) that were

1912b, Hertel 1915) and Edgerton (1924).[59] Hertel discovered several recensions in India, in

compiled, in their current form, between the

particular the oldest available Sanskrit recension, the Tantrakhyayika in Kashmir, and the so-

third and fifth centuries AD.

called North Western Family Sanskrit text by the Jain monk Purnabhadra in 1199 CE that blends and rearranges at least three earlier versions. Edgerton undertook a minute study of all texts which

The Panchatantra is a series of inter-woven fables, many of which deploy metaphors of anthropomorphized animals with human virtues and vices. Its narrative illustrates, for the benefit of three ignorant princes, the central Hindu principles of nîti.

seemed "to provide useful evidence on the lost Sanskrit text to which, it must be assumed, they all go back", and believed he had reconstructed the original Sanskrit Panchatantra; this version is known as the Southern Family text. In the 1990s two English versions of the Panchatantra were published, Chandra Rajan's translation

Five sections of Panchtantra

(like Ryder's, based on Purnabhadra's recension) by Penguin (1993), and Patrick Olivelle's

The Panchatantra is a collection of Indian animal stories. Therefore, "Mitra Bheda" (Loss of Friends), "Mitra Laabha" (Gaining Friends), "Suhrud Bheda" (Causing Discord Between Friends),

translation (based on Edgerton's reconstruction of the ur-text) by Oxford University Press (1997). Olivelle's translation was republished in 2006 by the Clay Sanskrit Library.

"Vigraha" (Separation," and "Sandhi") are the five principles or practices that are portrayed by

Recently Ibn al-Muqaffa's historical milieu itself, when composing his masterpiece in Baghdad

the Panchatantra (Union).

during the bloody Abbasid overthrow of the Umayyad dynasty, has become the subject (and rather confusingly, also the title) of a gritty Shakespearean drama by the multicultural Kuwaiti

before 1600 it existed in Greek, Latin, Spanish, Italian, German, English, Old Slavonic, Czech, and perhaps other Slavonic languages. Its range has extended from Java to Iceland... [In India,] it has been worked over and over again, expanded, abstracted, turned into verse, retold in prose, translated into medieval and modern vernaculars, and retranslated into Sanskrit. And most of the

playwright Sulayman Al-Bassam.Ibn al-Muqqafa's biographical background serves as an illustrative metaphor for today's escalating bloodthirstiness in Iraq — once again a historical vortex for clashing civilisations on a multiplicity of levels, including the obvious tribal, religious and political parallels.

stories contained in it have "gone down" into the folklore of the story-loving Hindus, whence they

The novelist Doris Lessing notes in her introduction to Ramsay Wood's 1980 "retelling" of the first

reappear in the collections of oral tales gathered by modern students of folk-stories.

two of the five Panchatantra books, that

The earliest known translation, into a non-Indian language, is in Middle Persian (Pahlavi, 550 CE) by

"... It is safe to say that most people in the West these days will not have heard of it, while they will

Burzoe.This became the basis for a Syriac translation as Kalilag and Damnag and a translation into

certainly at the very least have heard of the Upanishads and the Vedas. Until comparatively

Arabic in 750 CE by Persian scholar Abdullah Ibn al-Muqaffa as Kalîlah wa Dimnah.[12] A New

recently, it was the other way around. Anyone with any claim to a literary education knew that the

Persian version by Rudaki, from the 3rd century Hijri, became known as Kalîleh o Demneh

Fables of Bidpai or the Tales of Kalila and Dimna — these being the most commonly used titles with

Rendered in prose by Abu'l-Ma'ali Nasrallah Monshi in 1143 CE, this was the basis of Kashefi's

us — was a great Eastern classic. There were at least twenty English translations in the hundred

15th-century Anvâr-i Suhaylî (The Lights of Canopus), which in turn was translated into Humayun-

years before 1888. Pondering on these facts leads to reflection on the fate of books, as chancy

namah in Turkish.The book is also known as The Fables of Bidpai (or Pilpai in various European

and unpredictable as that of people or nations.”

56

57

Contemporary Stories Contemporary Tale about the background image

FOREST Dr Ebrahim Salimikouchi Writer, Associate Professor of Comparatives literature, and Ecological Activist

Bantu looked like American basketball players. Shoulders as wide as a car and arms like large

Bantu, reminiscent of American basketball players, recounted his Kenyan village tales

pillars. His eyes always sparkled when he talked

with sparkling eyes while toiling for an oil company in the endless Arabian desert.

about his small village in a dense forest in Kenya.He

Discovering a leak under the water tanker, he marveled at a plant thriving in the arid

worked for a multinational oil company in Arabia's

expanse, rekindling lost enthusiasm. Opting to dine in a makeshift forest, Bantu's friends found him peacefully asleep, a child-like serenity, with a slender plant flourishing before

south. In a desert that seemed to have no end, like

him – a poignant oasis in the relentless dryness, woven by the nomadic wordsmith

an ocean of sand. No living creature, nothing could

Dr Ebrahim Salimikouchi from Iran.

survive in that limitless dryness and terrible heat of 55 degrees. The tankers for drinking water were behind the kitchen shed. Once, when he went to take his head under the tap, he saw something strange. He stared in astonishment at the plant under the tanker, right where there was a small leak. It was as if he was looking at the strangest and most unknown event in the world. He waited until a big silver drop formed and dripped at the plant's foot. Then he headed to work. With enthusiasm that he had lost for a long time. At noon, he did

Contemporary or realistic stories is simply a fictional story set in modern/contemporary times—pretty self-explanatory.It’s a story that is

not eat his food in the canton shed. He took his tray.“Today I am going to eat my food in the forest”, he said in response to his friends who were surprised where he was

entirely made up, but could take place in the world as we know it today.

going.“Bantu!”, one of them exclaimed. “What kind of dope did you take to get so

There’s no fantastical, magical elements, characters are usually simple and

high?”He smiled and walked away.

relatable, and the plot—again—is believable. It typically highlights its characters, focusing on their growth and development. There are a lot of contemporary fiction pieces on my mind and I’m excited to explore and analyze their significance and influence in the world today.

58

When his friends were returning to their cabins, they saw him lying under the tanker. He was asleep with the peace of a child napping in his mother's arms. A small plant with a slender stem, probably wheat or barley, grew right in front of his face.

59

Stories about personal Experiences

esjh fcYyh esjs ikl esjh viuh 2 fcfYy;ka gSa eSaus mudk dksbZ uke ugha j[kk A esjh eEeh dgrh gS fcYyh dks ^^fcYyh^^ gh cqykvks mls vPNk yxrk gS A esjh fcfYy;ka esjh ikyrw gSA ?kj ds ckgj fudyrs gh tks cjkenk gS ogh mudk ?kj gSaA esjh fcfYy;ksa dks esjh rjg vktknh ilan gSA oks dHkh Hkh dgha Hkh vkrh tkrh jgrh gSaA ysfdu ,d ckr vkSj gS tks esjh vkSj esjh fcfYy;ksa esa ,d tSlh gS] os jkr dks oks esjs ?kj ds ckgj lksus t:j vkrh gSaA eSa jkst jkr dks mBdj fcfYy;ksa dks ns[kus tkrk gwa]oks vkjke ls lks jgh gksrh gSa vkSj eSa pqids ls /khjs ls njoktk can djds okil vk tkrk gwaA eq>s Hkh vPNh uhan rHkh vkrh gS tc esjh fcfYy;ka vkjke ls lks tkrh gSa! eEEeh ;s ckr tkurh gSa vkSj eq>s fcfYy;ksa dh eEeh dgrh gS];s lqudj eSa eEeh ds xys ls yx tkrk gwaA ,d ckj dh ckr gS ysfdu lPph ckr gS--xfeZ;ksa dh Nqfê;ka 'kq: gh gqbZ ,d fnu eSa lqcg mBk vkSj eSaus tksj ls vkokt yxkbZ^^ eEeh ikik tYnh vkvks ]ns[kks fdrus I;kjs cPps gSa esjh fcfYy;ksa ds ikl! eEeh ikik dk Hkkx dj vk, vkSj brus [kq'k gq, fd ge rhuksa ogha tehu ij cSBdj mu cPpksa dks ns[krs jgsA eSa tSls gh [kkyh gksrk fcYyh ds cPpksa dks [ksyrs dwnrs ns[krk vkSj mudh ns[kHkky djrkA ?kj esa dksbZ Hkh esgeku vkrk rks lcls igys mudh eqykdkr fcYyh ds cPpksa ls gksrh! geus feydj r; fd;k fd tc rd fcYyh us vius cPps gekjs ikl j[ks gSa rc rd ge dgha ckgj ugha tk,axsA bu fcYyh ds cPpksa dh ns[kHkky ds fy, fdlh dks rks ;gka jguk gh gksxk uk! eSa vkSj eEeh jkst 'kke ikap cts ?kqM+lokjh ds fy, tkus yxsA eSa jkst 'kke 6%10 ij ?kj ykSVrk vkSj cPpksa dks ns[kdj nw/k nsdj gh viuh thetare Dykl ds fy, tkrkA gj jkst dh rjg eSa 17 ebZ 2023 dh 'kke ?kqM+lokjh dh çSfDVl ls ykSVk rks eSaus ?kj dh ngyht ij ,d fcYyh ds cPps dks fcydqy pqipki ysVs gq, ns[kk !mlds vkl ikl mldk gh [kwu cg jgk FkkA eSa ?kcjkdj tksj ls jksrs gq, eEeh ikik dks vkokt yxkus yxk A ikikvkvkvk----- eEeekvkvk----os nkSM+dj vk, rks mUgsa Hkh viuh vka[kksa ij fo'okl ugha gqvk Bhd oSls gh tSls eq>s ugha gqvk Fkk A ikik us fcYyh ds cPps dks nksuksa gkFkksa ls laHkky dj gkFk esa mBk;k vkSj eSaus ns[kk ikik dh vk[kksa ls Hkh ,d vkalw dh cwan fcYyh ds ml I;kjs ls cPps dh can vka[kksa ij tk fxjhAeSa ml le; cgqr jks eEeh us vkdj eq>s xys ls yxk;k; vkSj rHkh eSaus ml fcYyh ds cPps dh eka dks ?kj dh rjQ Hkkxrs gq, vkrs ns[kk; oks vius cPps dks ikik dh xksn esa ns[kdj gekjs ikl fcydqy pqipki [kM+h gks xbZA ikik us fcYyh ds cPps dks mldh eka ds ikl j[k fn;k vkSj ge rhuksa cPps dh eka dks ns[krs jgs l eq>s fcYyh dh vka[kksa esa vklwa fn[kkbZ fn,A eSaus eEeh dks crk;k rks mUgksaus cl esjh rjQ ns[kdj eqLdqjk fn;kA eSa eEeh ls dguk pkgrk Fkk] ^^eEeh fcfYy;ka lp esa jksrh gSaA mUgsa Hkh nq[k gksrk gS gekjh rjg ns[kks uk!^^

How do you tell a story about a personal experience?

ikik us dgk] ^^ge tYn gh] tc vkSj tSls gh fcYyh vius nwljs cPps ds ikl tk,xh bl cPps dks cxhps esa xkM+ nsaxsA ;g lqudj eSa cgqr nq[kh gks x;k A

In my experience Show, don't tell Instead of simply telling readers or listeners about your

mlh jkr dks fcYyh tc vius nwljs cPps ds ihNs ihNs vk jgh Fkh rks eq>s vpkud ls cgqr rst jksuk vk x;k ysfdu eSa cgqr [kq'k Hkh Fkk vkSj eSa jksrs jksrs gh vkokt yxkus yxk] eEeh ikik ^^fcYyh vius nwljs cPps ds lkFk ykSV vkbZ gSA^^

experiences, show them through descriptive language, dialogue, and action. Show how you felt, how others reacted, and how the events unfolded in a mini scene. This will make your story more engaging and relatable. Read the story ^^esjh fcYyh^^ told by Master Adheeyaan Pareek written by Tripti Pareek 60

vc esjs ikl cgqr dke Fkk eSa tkurk Fkk eq>s vius iwjs ifjokj dk cgqr /;ku j[kuk gSAdHkh Hkh ifjokj ds NksVs cPpksa dks ?kj esa vdsyk ugha NksM+uk gSA vc esjs ikl 4 fcfYy;ka gSa vkSj eEeh dgrh gSa fcYyh dks fcYyh gh cqykvks ]fcYyh dks vPNk yxrk gS blfy, eSaus viuh fcfYy;ksa dk dksbZ uke ugha j[kk gSA D;k vkids ikl fcfYy;ka gS\ D;k oks esjh fcfYy;ksa ls nksLrh djsaxh\

61

Attitude Matters

Kesar to Cricket

Told by Moolshanker Pareek

Story from the Valley of Kashmir World's Most Popular Cricket Bats Are Made In The Valleys

Students at a management institute were

Of Kashmir!

made to answer a quiz at the end of the first year of their course. Many of them

Kashmir willow bats are popular across the world for their

answered nine out of the ten questions

quality and durability. Kashmir willow is less valuable than the

pretty quickly, but were left foxed by the

English willow. However, the cost advantage of the Kashmiri bats ensure that the region remains the second largest

last question: What is the first name of the

exporter of cricket bats in the world, right behind the UK,

lady who cleans the institute every

where the sport was born. The willow used to make these bats were brought in by the British during the

morning?

1920s. Some of the districts where these bats are made in Kashmir are Anantnag, Baramula, and Pahalgam. Image : Loving Cricket These bats are not only popular in India, but also in Pakistan,

The students walked out of their class, many still stumped over the last question. Confusion was the dominant expression on their faces, but none uttered a word to

Bangladesh and Sri Lanka. bats require constant knocking for being transformed into the run machines and the perfect companions they are. Knocking makes the fibres of the willow blade compress together, which helps the bat bear the impact of the ball. Constant knocking for several hours ensures

the professor. One of them finally mustered the courage and asked the professor

that the edges of the bat are well shaped. Image : Flickr Another major aspect of the process of

if the last question would be counted in their quiz grade. “But of course," he

making a perfect bat is oiling. The oil is applied on the back, toe, front, and edges of the bat to make it

answered. “Why do you ask?" "Well... " she stammered, “I was just wondering what the servant's name had to do

more durable. Image : Loving Cricket The Kashmiri artisans working on these bats toil extremely hard to

with the test.” The professor smiled and explained, “In your careers, you will meet many types of

ensure that the fibers get knitted properly. manufactured by these Kashmiri artisans are often an aspiring player’s best friend. According to CricLife, good quality Kashmir willow cost $18 while English willow bats cost $170. Budding cricketers can’t afford English willows, making the Kashmir willows a more popular and affordable option.

people. All of them will be significant. They will deserve your attention and care, even if all you do is smile and say hello! This question was to test you for that attitude."

Visit to kashmir : Dar Cricket world Sports Town Sather, Sangam, Anantnag Kashmir, Bharat

62

63

eka lk fo'okl - Told by Moolshanker Pareek

MªhEl vufyfeVsM* M‚- vftr flag rksej

;g dgkuh eq>s esjs ukukth ewy'kadj ikjhd us ,d 'kke pk; ihrs gq, lqukbZ FkhA dgkuh lquus ds ckn eSaus bls dgha fy[k dj ugha j[kk] cfYd ;s dgkuh esjs vanj dgha fdlh lqanj lh fo'okl uke dh fdrkc esa [kqn gh fy[k xbZA vkt ogh dgkuh eSaus vkids lkeus j[k nh gSA

yanu dh e'kgwj v‚D'ku xSyjh fØLVht esa ,d ;qok yM+dk v‚fQl esa iwN~rkN djus ds mís'; ls nkf[ky gksrk gS-fjlsI'ku ij iwN~rkN djrk gS- fjlsI'ku ij vVsaMsaV mldh Dokjh dks le> ugh ik jgh gS- yM+dk dgrk gS oks vius thou ds lcls vewY; liusa uhyke djuk pkgrk gS D;k mudk ;gk¡ dksbZ [kjhnkj fey ldrk gS\ lius dSls uhyke fd, tk ldrs gS vVsaMsaV ;g tkuuk pkgrh gS oks yM+ds ls iwNrh gS lius dksbZ oLrq gS\ tks mUgsa uhyke fd;k tk lds ! yM+dk dgrk gS uhyke djus ds fy, oLrq gksuk ,d NksVh pht gS mls ,slk czksdj pkfg, tks mlds lius uhyke dj lds- yM+dk dgrk gS mlds ikl ,sls lius ftUgsa dksbZ Hkh [kjhndj nqfu;k dk lcls vehj vkneh cu ldrk gSA vVsaMsaV tkurh gS og mldh dksbZ enn ugh dj ldrh gS exj fQj oks ml cgqewY; lius ds ckjsa esa tkuuk pkgrh gS ftls cspdj yM+dk iSlk gkfly djuk pkgrk gS- oks iwNrh gS vkids liusa dh D;k dher gS\ yM+dk galrk gqvk dgrk gS dk'k ! eSa [kqn vius lius dh dher tku ikrk eq>s mldh tks dher irk gS oks mldh vly esa dher ugh gS oks njvly esjh t#jr dh dher gS- vVsaMsaV FkksM+s dkSrqgy ls f?kj tkrh gS vkSj dgrh gS vki vius lius dks uhyke djds dSlk eglwl djsaxs\ yM+dk dgrk gS liuk uhyke djds dksbZ Hkh [kq'k rks ugh gks ldrk exj eSa brus Hkj ls larks"k dj ywaxk fd fdlh us esjs lius dh lgh dher yxkbZ- cspus okyk [kqn dks ges'kk ,d vkRelkaRouk nsrk gS fd mldk U;wure ewY; vHkh fxjk ugh gS] ;gh gky esjs lius dk gS eSa blh mEehn ij ;gk gw¡ fd esjs lius dk ewY; 'kk;n ;gk¡ fey tk,A

,d NksVk lk cksMZ jsgM+h dh Nr ls yVd jgk Fkk]ml ij eksVs ekjdj ls fy[kk gqvk Fkk-----!! ^^?kj es dksbZ ugh gS]esjh cw<+h ek¡ chekj gS]eq>s FkksM+h FkksM+h nsj esa mUgsa [kkuk]nok vkSj Vk;yV djkus ds fy, ?kj tkuk iM+rk gS]vxj vkidks tYnh gS rks viuh ethZ ls Qy rkSy ys vkSj iSls dksus ij xÙks ds uhps j[k nsa]lkFk gh jsV Hkh fy[ks gq;s gSa^^

Image credits : Ebrahim Salimikouchi

vkSj vxj vkids ikl iSls ugh gks rks esjh rjQ ls ys ysuk]btktr gS--!! eSaus b/kj m/kj ns[kk]ikl iM+s rjktw esa nks fdyks lsc rksys]ntZu Hkj dsys fy,]cSx esa Mkys]çkbt fyLV ls dher ns[kh]iSls fudky dj xÙks dks mBk;k ogk¡ lkS iPpkl vkSj nl nl ds uksV iM+s Fks]eSaus Hkh iSls mles j[k dj mls <d fn;kAcSx mBk;k vkSj vius ¶ySV is vk x;k]jkr dks [kkuk [kkus-ds-ckn eSa vkSj HkkbZ m/kj fudys rks ns[kk ,d detksj lk vkneh]nk<+h vk/kh dkyh vk/kh lQsn]eSys ls dqrsZ itkes esa jsgM+h dks /kDdk yxk dj cl tkus gh okyk Fkk ]oks gesa ns[k dj eqLdqjk;k vkSj cksyk ^^lkgc! Qy rks [kRe gks x, uke iwNk rks cksyk lhrkjke -fQj ge lkeus okys <kcs ij cSB x,--pk; vk;h]dgus yxk ^^fiNys rhu lky ls esjh ekrk fcLrj ij gSa]dqN ikxy lh Hkh gks xbZa gS]vkSj vc rks Qkfyt Hkh gks x;k gS]esjh dksbZ larku ugh gS]choh ej x;h gS]flQZ eSa gw¡ vkSj esjh ek¡-! ek¡ dh ns[kHkky djus okyk dksbZ ugh gS blfy, eq>s gj od~r ek¡ dk [;ky j[kuk iM+rk gS^^ ,d fnu eSaus ek¡ dk ik¡o nckrs gq, cM+h ujeh ls dgk] ek¡ ! rsjh lsok djus dks rks cM+k th pkgrk gSA ij tsc [kkyh gS vkSj rw eq>s dejs ls ckgj fudyus ugh nsrh]dgrh gS rw tkrk gS rks th ?kcjkus yxrk gS]rw gh crk eS D;k d:¡\^^ vc D;k xys ls [kkuk mrjsxk\ u ^^esjs ikl-dksbZ tek iwath gS ;s lqu dj ek¡ us gk¡Qrs dk¡irs mBus dh dksf'k'k dh]eSaus rfd;s dh Vsd yxokbZ]mUgksaus >qfjZ;ksa okyk psgjk mBk;k vius detksj gkFkksa dks Åij mBk;k eu gh eu jke th dh Lrqfr dh fQj cksyh---

vVsaMsaV dgrh gS pfy, QtZ dj ysrs gS esjs ikl ,d ikVhZ gS tks vkidk liuk [kjhnus esa fnypLih j[krh gS rc vki vius lius dh cksyh fdrus ls LVkVZ djuk pkgsaxs\

^^rw jsgM+h ogha NksM+ vk;k dj gekjh fdLer ges blh dejs esa cSB dj feysxk^^ ^^eSaus dgk ek¡ D;k ckr djrh gks]ogk¡ NksM+ vkÅ¡xk rks dksbZ pksj mpDdk lc dqN ys tk;sxk] vktdy dkSu fygkt djrk gS\ vkSj fcuk ekfyd ds dkSu [kjhnus vk,xk\^^

yMdk vc FkksMk mnkl gks tkrk gS vkius eq>s ;dhu fnykdj vPNk ugh fd;k eSa ;s lkspdj vk;k Fkk fd balku [kqn ds liuksa esa bruk [kks;k gS oks nwljs ds lius esa D;ksa fnypLih ysxk\ ;fn liuksa dh uhykeh lp esa gks ldrh gS rks fQj nqfu;k Hkj esa lius ns[kus okys yksx lcls cM+s O;kikjh gSA

dgus yxha ^^rw jke dk uke ysus ds ckn ckn jsgM+h dks Qyksa ls Hkjdj NksM+ dj vktk cl]T;knk cd cd ugh dj]'kke dks [kkyh jsgM+h ys vk;k dj] vxj rsjk #i;k x;k rks eq>s cksfy;ks^^

ekQh pkgwaxk eSaus vkidk dherh oä fy;k eSa lius uhyke rks djuk pkgrk gw¡ exj mudh dher tkuus ds fy, eq>s dqN lius vkSj ns[kus gksaxs] rc rd ;fn vkidh ikVhZ #d lds rks nsf[k,xk] yMdk bruk dgdj okfil eqM+ tkrk gSA vVsaMsaV dgrh ftl fnu ;s uhykeh gqbZ ml fnu ;s uhykeh ?kj dh vkf[kjh uhykeh gksxh D;ksafd liusa tgka fcdus 'kq: gks tkrsa gS ogka nwljh phtsa [kqn ewY;ghu gks tkrh gSA yMdk ;s lqudj eqLdqjkrk gS exj vVsaMsaV mldk psgjk ugh ns[k ikrh gSA 64

<kbZ lky gks x, gS HkkbZ! lqcg jsgM+h yxk vkrk gw¡ 'kke dks ys tkrk gw¡]yksx iSls j[k tkrs gS Qy ys tkrs gSa],d /ksyk Hkh Åij uhps ugh gksrk] cfYd dqN rks T;knk Hkh j[k tkrs gS]dHkh dksbZ ek¡ ds fy, Qwy j[k tkrk gS]dHkh dksbZ vkSj pht! ijlksa ,d cPph iqyko cuk dj j[k x;h lkFk es ,d iphZ Hkh Fkh ^^vEek ds fy,^^ ,d M‚DVj viuk dkMZ NksM+ x, ihNs fy[kk Fkk ek¡ dh rfc;r uktqd gks rks eq>s dky dj ysuk eSa vktkÅ¡xk]dksbZ [ktwj j[k tkrk gS ] jkstkuk dqN u dqN esjs gd ds lkFk ekStwn gksrk gSA u ek¡ fgyus nsrh gS u esjs jke dqN deh jgus nsrk gS ek¡ dgrh gS rsjk Qy esjk jke vius Qfj'rksa ls fcdok nsrk gSA

65

Comics and Cartoon

Laxman Science Cartoon

Comics and Cartoon about the background image

Comics is a medium used to express ideas with images, often combined with text or other visual information. It typically takes the form of a sequence of panels of images. Textual devices such as speech balloons, captions, and onomatopoeia can indicate dialogue, narration, sound effects, or other information.* Cartoon is an animation not a genre. Being animated cartoon has no inherent narrative conventions. Cartoons are used today primarily for conveying political commentary and editorial opinion in newspapers and for social comedy and visual wit in magazines.

66

67

The Tiger Eater

Amar Chitra Katha 68

69

70

71

Credit : Amar Chitra Khata Diamond Comics

72

73

Credit : Jean-Pierre Petit 74

75

n Vhpj (2023)

Cinema and Storytelling Cinema and Storytelling about the background image

A knight, while on his way to home, meets Death who has come to take his life. The knight challenges him to a game of chess, in order to save his life.Ingmar Bergman's The Seventh Seal (1957) is, more than anything, a story about meditation on death.

^ fQfyLrhu dh vksj f[kM+dh ^ ¼btjk;y gekl ;q) ds chp dgkfu;ksa dk flusekbZ nLrkost gS ;g fQYe½ The Teacher is a 2023 drama film by British-Palestinian filmmaker Farah Nabulsi. It premiered at the 48th Toronto International Film Festival on 9 September 2023. fQYe dk dFkkud % ,d fQfyLrhuh Ldwy Vhpj cklse vy lkysg ¼ lkysg cdjh½ dh bl ekfeZd dgkuh esa ,d lkFk dbZ eqís ?kqy fey x, gSaA blesa osLV cSad esa btjk;yh lsuk dh canwdksa ds lk, esa th jgs fQfyLrhuh ukxfjdksa dh lkewfgd ihM+k esa ,d Vhpj dh viuh ;knksa dk tgj feyk gqvk gSA dgkuh esa Vhpj dk thou rc fc[kjus yxrk gS tc mlds vius csVs dks ,d nq?kZVuk esa vkB lky dh tsy gks tkrh gS vkSj mldh iRuh bl ?kVuk ls nq[kh gksdj ?kj NksM+dj ges'kk ds fy, pyh tkrh gSA lkFk gh ,d jkr rRdky bykt u fey ikus ds dkj.k nl lky dk mldk csVk tsy esa gh ej tkrk gSA vius csVs dks ugha cpk ikus dk vijk/kcks/k fy, og Vhpj fnu jkr bZekunkjh ls viuk dke dj jgk gSA og /khjs&/khjs vius nks Nk=ksa] vkne vkSj ;kdwc esa vius csVs dh Nfo;ka ns[kus yxrk gSA ,d nksigj btjk;yh lsuk dh ,d VqdM+h ;kdwc ds ?kj dks ryk'kh ds nkSjku cqyMkstj ls <kg nsrh gSA blls ;kdwc foæksgh cu tkrk gSA ,d fnu vpkud ekewyh >xM+s esa ,d ;gwnh mls lcds lkeus xksyh ekj nsrk gSA mlij gR;k dk eqdnek rks pyrk gS ij lc ukVd gSA og gR;kjk cjh gks tkrk gSA Vhpj vkne dks vius ?kj ykrk gS tks fnu&jkr ;kdwc dh gR;k dk cnyk ysus dh lksprk jgrk gSA Vhpj vkSj vkne esa ,d rjg ls cki csVs dk fj'rk cuus yxrk gSA m/kj ,d fQfyLrhuh foæksgh xzwi dh dSn esa ,d vesfjdh jktuf;d dk bdykSrk csVk tks rhu lky ls ca/kd gS ]ftls NqM+kus ds fy, mlds ykpkj eka cki btjk;yh vQljksa ls xqgkj yxk jgs gSa]ftudk csVk btjk;yh lsuk esa dekaMj gSA vesfjdh jktuf;d dh fjgkbZ ds cnys btjk;y ls djhc ,d gtkj fQfyLrhuh dSfn;ksa dh fjgkbZ dh ekax dh tkrh gSA btjk;y bl ekax dks iwjk djus esa blfy, fgpd jgk gS fd ,d ckj ekax eku ysus ij fQfyLrhuh foæksgh xwV dks ckj ckj btjk;fy;ksa dk vigj.k djus dk çksRlkgu feysxkA ,d jkr os ml ca/kd dks Vhpj ds ?kj ykrs gSa vkSj rg[kkus esa Nqik nsrs gSaA vesfjdk ds gLr{ksi ds ckn ml ca/kd dh [kkst esa btjk;yh lsuk bykds esa ?kj ?kj Nkisekjh dj jgh gSA ,d fczfV'k lks'ky odZj fytk Vhpj ds laidZ esa vkrh gS vkSj mlls I;kj djus yxrh gSA nksuksa vius lqanj {k.kksa esa cgqr dqN lk>k djrs gSa vkSj vkrad vkSj [kkSQ ds lk, esa e'kgwj fQfyLrhuh dfo egewn njos'k dh dfork,a i<+rs gSaA ysfdu Vhpj tkurk gS fd mldk thou ftl edke ij gSa] og vc çse vkSj fookg ugha dj ldrkA og fytk ls dgrk Hkh gS fd og u rks viuh iRuh dks [kq'k j[k ldk vkSj u gh vius csVs dks cpk ldk rks og ,d vkSj ftanxh ugha cckZn dj ldrkA fytk Vhpj dks mlds vijk/k cks/k ls eqä djus dh yxkrkj vlQy dksf'k'k djrh jgrh gSA

The goal of storytelling in film is to create a compelling and engaging narrative that captures the audience's attention and emotionally connects with them. Good storytelling in film can make the audience feel like they are a part of the story, and can leave a lasting impression long after the film is over. 76

m/kj [kcj vkrh gS fd btjk;y vesfjdh dekaMj ds cnys ,d gtkj fQfyLrhuh dSfn;ksa dks NksM+us ij jkth gks x;k gSA blh chp vkne Vscqy ij ,d uksV fy[kdj ml ;gqnh dh gR;k djus fudy iM+rk gS ftlus mlds HkkbZ ;kdwc dks xksyh ekjh FkhA Vhpj dks yxrk gS fd og vius csVs dks ugha cpk ik;k Fkk ij vkne dks cpkuk gksxkA tSls gh vkne ml ;gqnh ij pkdw ls okj djusokyk gS fd vpkud Vhpj mls xksyh ekj nsrk gS vkSj vkne ls Hkkx tkus dks dgrk gSA Vhpj iqfyl ds lkeus ljsaMj dj tsy pyk tkrk gSA vkSj bl rjg ekuoh; laca/kksa dh ijrksa dks [kksyrh ;g dgkuh flusek ds ek/;e ls gels [kqy dj fny dh ckr djrh gSA QfyLrhuh ewy dh fczfV'k efgyk fQYedkj Qjkg ukcqYlh dh igyh gha fQYe ^ n Vhpj bu fnuksa lkjh nqfu;k esa ppkZ esa gSaA blesa Vhpj dh Hkwfedk fuHkkus okys btjk;yh vfHkusrk lkysg cdjh us vius tcjnLr vfHku; ls lcdk /;ku [khapk gSA os e'kgwj vfHkusrk eksgEen cdjh ds csVs gSaA ;g fQYe btjk;y gekl ;q) ds chp dbZ ân;fonkjd ekuoh; dgkfu;ksa dks gekjs lkeus ykrh gSA

77

The Dot and the Line: A Romance In Lower Mathematics Award Winning Animated Short Film 1965

The Film : Bioscopewala

Screen Play by Norton Juster and Read by

(The film is an adaptation of Nobel Laureate

Robert Morley.

Rabindranath Tagore's 1892 short story Kabuliwala and released on 25 May 2018 in India. Bioscopewala has

This 10-minute film' is a masterpiece of wordplay, sprinkled with gorgeous vintage design and typography' went on to win the Oscars for Animated short film.

taken forward the timeline of Kabuliwala, the original story written by Rabindranath Tagore, from the 19th century to somewhere in the 1980s during the Taliban regime and changed the profession of Rehmat, the central character, from a dry fruit seller to a man who

It's a story of unrequited love between a

goes around showing films to children through his

straight line and a red dot, and the line's persistent efforts to win the dot's heart.

bioscope.)

“Once upon a time, a straight line fell in love with a dot, who only had eyes for a squiggle.

Story & Plot

All of the line's romantic dreams were in vain until he discovered...angles! Now, with newfound self-expression, he can be anything he wants to be--a square, a triangle, a parallelogram.... And that's just the beginning!"

Bioscopewala is the story of Rehmat Khan, a man from Kabul, Afghanistan who used to show films to children through his Bioscope. Rehmat befriends a girl named Minnie who is of the same age as his own daughter and one day he disappears from her life. Many years later a grownup Minnie, who is now a documentary film-maker living in France, learns about her father, who

MORAL : To the vector belongs the spoils.

died in a plane crash while travelling to Afghanistan. As Minnie tries to figure out the reason why her father made that trip, she comes across Bioscopewala, the man who used to tell her

1965 animated short film directed by Chuck Jones and co-directed by Maurice Noble, based on the 1963 book of the same name

stories when she was a child.

written and illustrated by Norton Juster, who also provided the film's script. The film was

Bioscopewala (Translation :Man with a bioscope) is an Indian Hindi-language drama film

narrated by Robert Morley and produced

directed by Deb Medhekar, and produced by Sunil Doshi. The film stars Danny Denzongpa and

by Metro-Goldwyn-Mayer. It won the 1965

Geetanjali Thapa in lead roles and had its world premiere at the 30th Tokyo International Film

Academy Award for Animated Short Film and was entered into the Short Film Palme

Festival on 28 October 2017.

d'Or competition at the 1966 Cannes Film Festival. 78

79

Iranian Film : TheWhiteBallon by Abbaskiarostami

Modern Story Modern Story about the background image

Cinema in the classroom! Almost every subject can be taught using film clippings. The pedagogy is applicable at all levels of learning –

A pack horse librarian delivering books in rural Kentucky in 1938. During the Great

right from primary classes to post graduate level and

Depression, the Pack Horse Library Project was a Works Progress Administration (WPA)

specialized classes like management and media. The

program in which the librarians, who were often called "book women" or "book ladies,"

pedagogy is equally effective in formal and non formal

delivered books to remote parts of Appalachia.

teaching. The film, The white Ballon, directed by Jafar Panahi, is a bold foray into the world of children. I liked this film because I had seen this Iranian film for the first time in a film festival in my childhood, i.e. during school days. From there I felt that children live like us in Iran and think and play like us. I still can't forget the face of a girl named Razieh, beautifully tied in a hijab. The film was with English subtitles but not a single minute passed that there was any diversion of any kind. The second reason to watch this film again as a teacher today is that this film never, anywhere, in any form, does not degrade children. In fact, it makes adults/us look like clowns. You feel each and every victory and defeat of the kids and get embroiled in their intrigues and problems in this short 1hr 25 mins movie. The encounters with ordinary Iranians in the film are also wonderful, especially with the soldiers at the end. Perhaps the most natural example of child acting is shown through Rezieh- All of Jafar Panahi's movies are great too, but nothing matches "The White Balloon" - without question one of the

A modern story can either refer to contemporary stories that have been

best Iranian movie of all time.

written recently, or it can refer to stories that were written during the Modernist #teacher #school #pedagogy #management #media #film #Abbaskiarostami

literary era. Modernism, which took place between the late 1800s and the

#majidmajidi #asgarfarhaadi #Iranfilmfestival #Berlin

early 1940s, popularized the literary technique known as fragmentation.

80

81

Crossing the Raavi - Gulzar

from their homes. All day and all night, the community kitchen churned out meals. But how long could the provisions last...the question haunted ev- ery heart. They were hopeful the government would send some help. 'But which government?, someone would ask. 'The English have left'’ Pakistan has been created but there is no Pakistani govern- ment in place yet? 'I have heard that the military is all around; they are taking caravans of sharanarthis till the border under their care’

It is a wonder that Darshan Singh did not go mad. His fa- ther died, his mother was lost somewhere in what remained of

'Sharanarthis? Who are they?' Darshan's wife asked. 'Refugees! 'We have never heard these words

the Gurdwara, and his wife gave birth to two babies at the

before?

same time. Twins... both boys! Darshan Singh did not know if

'A group comprising two or three families, who could no lon- ger bear the burden of anxiety, decided

he should laugh or cry. Fate had dealt him a strange hand...

to set off. 'We are leaving. We have heard that there are trains leaving from the railway station. How

taken away with one hand what she had given with the

long can we sit around waiting here?

other. It was being said that freedom had come or was coming, though it was hard to tell when it would reach

'Crossing the Raavi'

Lyallpur. Hindus and Sikhs were surreptitiously making their

After all, brother, one has to find the courage. Waheguru will not carry us on His shoulders. Another quoted from the Granth Sahib to bolster his argu- ment, 'Nanak Naam is the ship; he who

way to the safety of the gurud- wara. Shahni had been moaning in pain for the last few days and nights. Those were

boards the ship will sail across.

the last days of her pregnancy and it would be her first

No sooner had some people left than a bubble of emptiness would form in their absence. But as soon

labour. Every day, Darshan Singh would bring a new story about the

Credits - Sahyr Mirza -Journalist

riots. Every day, his father would comfort him. 'Nothing will happen, son; nothing at all. Has any Hindu or Sikh home been attacked so far? ''But the gurudwara was attacked, Bhapa-ji. It has been set on fire twice. 'And yet you want to go and assemble there?' Darshan Singh fell silent. But all around him, people were leaving their homes and gathering in the gurdwara. 'It is comforting to be in one place, Bhapa-ji. There is not a single Hindu or Sikh left in our alley. We are the only ones here? One night, ten or fifteen days ago, the sound of Bhapa-ji fall. ing down in the courtyard rang out; everyone woke up. Cries of 'Jo Bole So Nihaal' could be heard in the distance, coming from the gurudwara. Bhapa-ji had, in fact, heard the shouts and woken up, and gone up to the terrace. On his

as a fresh set of people came with news from the world outside, the bubble would burst. 'Do you know...a huge camp has been set up at the railway station!' 'People are dying of hunger and eating stale food. Diseases are spreading! 'Five days ago, a train had passed by this way. There wasn't space to keep a seed of sesame; people were packed even on the roof’. The next morning was Sankrant. Verses from the Granth Sa-hib were being recited day and night. Shahni gave birth to her twins at a very auspicious moment. Of the two, one baby was extremely weak; it had little chance of survival, but Shahni keptit alive through the sheer force of her umbilical cord. That very night someone said, 'A special train has come to get the refugees; let us go!A large mass of people set out from the gurudwara. It includ- ed Darshan Singh and Shahni too who, though extremely weak, was willing to leave for the sake of her sons. The mother refused to budge.

way down, he had slipped on the stairs and the axe lying in the courtyard had smashed his head.

'I will come, son; I will come with the next lot. You leave with my daughter-in-law and my grandsons?

Somehow or the other, Bhapa-ji's last rites were performed; whatever little they possessed was

Darshan Singh tried to dissuade her but the Granthi inter-vened. The volunteers in the gurudwara too

stuffed in a pillowcase and the three of them had made their way to seek refuge in the gurud- wara.

tried to bolster his courage.

There was no dearth of frightened souls inside the gurud- wara. No wonder he felt buoyed with

'Leave now, sardar-ji. One by one, we shall all go across the border. We will bring your mother with

courage. Darshan Singh would say, 'after all, we are not alone; if nothing else, we are close to Waheguru’. Groups of young volunteers would work all day long. People had collected flour, pulses and ghee 82

us. Mirror And so Darshan Singh set out. He put his two babies in a basket as though he were a street hawker 83

who had set out with his family atop his head. The train was at the railway station but there was no space inside it. People seemed to grow like grass on its roof. People saw the weak and sickly mother

VksyLVk; dh lkbfdy

and her newly born babies, pulled her onto the roof, and made some space for her. After about ten hours, there was a small rumble in the train. The evening was red, as though bloodied, its face livid and ablaze Shahni's breasts were sucked dry.

;g dgkuh eSaus esjh d{kk 12 dh bfrgkl fo"k; dh v/;kfidk ls lquh FkhA rc ls tc Hkh eSa lkbfdy ns[krh gwa eq>s V‚yLV‚; ;kn vk tkrs gSaA

She would lift one baby away, then put the other to suckle. The bundle of two infants, wrapped in rags, looked like something that had been picked up from a garbage heap. After some time, as the train slowly pushed its way into the night, Darshan Singh noticed that while one baby moved its arms and legs and even let out an occasional cry, the other was absolutely still. He thrust his hand inside the bundle and found it was stone cold. When Darshan Singh burst into tears, the people sitting around him understood. They tried to take the baby away from Shahni but she seemed to have turned to stone too. She sat there with the basket clasped to her chest. 'No, one doesn't take milk without his brother. Despite everyone's efforts, Shahni refused to let go of the bas-ket. The train stopped ten times and moved ten times. People made conjectures in the dark.'I am sure we have just crossed Khairabad.

67 lky ds V‚yLV‚; dks muds lcls NksVs csVs boku dh vdky e`R;q us >d>ksj dj j[k fn;k Fkk- mUgksaus fy[kk] Þyxk tSls Hkhrj dh og pht VwV xbZ ftl ij esjk thou fVdk gqvk Fkk- esjs ikl Fkkeus dks dksbZ lgkjk ugha cpk FkkuSfrd :i ls thou ,dne Bgj x;k Fkk-ß la;ksxo'k bl =klnh ds dqN gh fnuksa ckn e‚Ldks dh lkbfDyax lkslk;Vh us mUgsa ,d lkbfdy rksgQs esa nh vkSj mUgsa mls pykuk fl[kkus dk çLrko Hkh fn;k- V‚yLV‚; ml le; :l ds lcls cM+s lqijLVkj Fks- lkbfdy dk ,d vk/kqfud laLdj.k mUgha fnuksa cktkj esa vk;k Fkk- mls pykrs gq, V‚yLV‚; dh rLohj ls cM+k mldk D;k foKkiu gks ldrk Fkk! V‚yLV‚; us u dsoy lkbfdy pykuk lh[kk cfYd og muds fopkjksa dh vkokjxh dks Fkkeus dk lk/ku Hkh cu xbZlkbfdy pykus ds vius vuqHkoksa dks mUgksaus viuh vusd Mk;fj;ksa esa txg nh gS-

'Surely this is Gujranwala. 'Just an hour more good as reaching Hindustan. as soon as we reach Lahore, it is asAnd in their fervour, they began to raise slogans.'Har Har Mahadev!' 'Jo Bole So Nihaal!' A wave seemed to ripple through the crowd as the train climbed a bridge. 'It is the Raavi.' It is the Raavi! That means we have reached Lahore! "In that clamour of noises, someone whispered something in Darshan Singh's ear. 'Sardar-ji, throw your baby here; it will find its mukti in theRaavi. What good will it do taking it across the border?

e‚Ldks esa lkbfdy pykuk lh[k pqdus vkSj mlds fy, ljdkjh ykblsal gkfly dj pqdus ds ckn mUgksaus vius ;kLuk;k iksY;kuk QkeZ ds fy, Hkh ,d lkbfdy [kjhnh tgk¡ os gj jkst lksyg ls vBkjg ehy lkbfDyax fd;k djrslkbfdy us mUgsa vius nq%[k ls mcjus vkSj ubZ jpuk djus dh t:jh rkdr eqgS¸;k djkbZthou ds vafre iM+ko esa fdlh ,dne u, dke dks lh[kus dh ço`fÙk dks ;wjksi dh reke Hkk"kkvksa esa vc ^V‚yLV‚; dh lkbfdy* dgk tkrk gS-

"Softly, Darshan Singh nudged the basket away from his wife. And, in one swift move, plucked the

yso rksyLrks; ¼:lh%Ëåâ Íèêîëàåì âè÷ Òîëñòîéì ] 9 flrEcj 1828 & 20 uoacj 1910? mUuhloha lnh ds

bundle out and flung it into the Raavi with a loud cry of 'Waheguru.

lokZf/kd lEekfur ys[kdksa esa ls ,d gSaA mudk tUe :l ds ,d laiUu ifjokj esa gqvk FkkA mUgksaus :lh lsuk esa HkrhZ gksdj Ohfe;kbZ ;q) (1855) esa Hkkx fy;k] ysfdu vxys gh o"kZ lsuk NksM+

'The faint cry of a baby was heard in the darkness. Terrified, Darshan Singh turned to look at Shahni. The dead baby wasclinging to Shahni's breast. A bubble of noise erupted all around him'Wagah! Wagah! ''Hindustaan Zindabaad!’

Translated from the Urdu by Rakhshanda JalilGulzar is a celebrated Indian poet, lyricist, author, screenwriter, and film director known for his works in Hindi cinema. Many collections of poems, short stories and scripts have flowed from his pen. His creative repertoire also includes plays, ballets, music albums, serials as well as books for children. His works have been translated into many languages and received national and interna- tional acclaim

:lh ys[kd fy;ks V‚YLV‚; dks ;FkkFkZoknh dFkk lkfgR; dk fo'ks"kK vkSj nqfu;k ds egkure miU;kldkjksa esa ls ,d ekuk tkrk gS] tks fo'ks"k :i ls vUuk dSjsfuuk vkSj o‚j ,aM ihl ds fy, tkus tkrs gSaA la'k;okn vkSj gB/kfeZrk ds chp >wyrs gq,] mUgksaus ekuo vuqHko ds lcls fofo/k –f"Vdks.kksa dh [kkst dhA:lh ys[kd fy;ks V‚YLV‚; dks ;FkkFkZoknh dFkk lkfgR; dk fo'ks"kK vkSj nqfu;k ds egkure miU;kldkjksa esa ls ,d ekuk tkrk gS] tks fo'ks"k :i ls vUuk dSjsfuuk vkSj o‚j ,aM ihl ds fy, tkus tkrs gSaA la'k;okn vkSj gB/kfeZrk ds chp >wyrs gq,] mUgksaus ekuo vuqHko ds lcls fofo/k –f"Vdks.kksa dh [kkst dhA

https://youtu.be/8kch5IEU0S8?si=w-NkxOK_19nrzJqg

84

85

His little book Viktor Frankl Viktor Frankl, one of the great psychiatrists of the twentieth century, survived the death camps of Nazi Germany. His little book, Man’s Search for Meaning, is one of those life-changing books that everyone should read.

The Story Behind The Name Why is Bengaluru called Bengaluru?: The Story Behind The Name The names of some cities have very interesting origin stories. Ever wondered what’s the story behind the name Bengaluru? There’s not one but three popular stories about how it came to be. The 12th century King Veera Ballala II, lost his way in the forest while on a hunt. After hours of

Frankl once told the story of a woman who called him in the middle of the night to calmly inform him she was about to commit suicide. Frankl kept her on the phone and talked her through her depression, giving her reason after reason to carry on living. Finally she promised she would not take her life, and she kept her word.

wandering, exhausted, thirsty and hungry, he came across a hut in the forest. A poor old woman who lived only had some beans at home at that time, so she boiled them and served the king. This act of generosity was not lost on the King, who was so hungry that he proclaimed that never before in his life had he eaten a meal of beans so tasty. Touched by the poor woman’s large heartedness, the King named the place ‘benda-kaal-uruliterally meaning, the place of boiled beans. Over time, that place came to be known as

When they later met, Frankl asked which reason had persuaded her to live? "None of them", she told him.

Bengaluru. This is the most commonly told and believed story about how Bengaluru got its name. However, there’s another origin story as well. A very old inscription, dating back to the 9th century, on a temple in Begur refers to

What then influenced her to go on living, he pressed?

Bangalore as the City of Guards, Benga-

Her answer was simple, it was Frankl’s willingness to listen to her in the middle of the night. A

val-uru. True to this name, many years

world in which there was someone ready to listen to another's pain seemed to her a world in

later, the Britishers chose Bangalore as a

which it was worthwhile to live.

cantonment literally meaning military camp. In fact, Bangalore is one of the few

Often, it is not the brilliant argument that makes the difference. Sometimes the small act of

cities in India with a cantonment at the

listening is the greatest gift we can give.

heart of the city. In most other cities, cantonments tend to be towards the outskirts.

Viktor Emil Frankl (26 March 1905 – 2 September 1997)[ was an Austrian psychiatrist and Holocaust survivor,who founded logotherapy, a school of psychotherapy that describes a

Another commonly held view is that the city got its name from the Benga trees abundantly

search for a life's meaning as the central human motivational force. Logotherapy is part of

found in the region. So, there, you now have three stories about how Bengaluru got its name.

existential and humanistic psychology theories.

Perhaps it is only fitting that a city with so many stories is, even today, called by a variety of names including Bangalore, garden city, the city of lakes, a pensioner’s paradise and, not to forget, the Silicon Valley of India.

86

87

A musical Girl Called Gillian

In 1981, after a career as a dancer, opening her own dance academy and receiving international recognition for her art, Gillian Lynne became the choreographer of the musical "Cats," both in London and Broadway. She also directed and choreographed the Vienna production.

Gillian is a seven-year-old girl who cannot sit in

Hopefully all “different” children find adults capable of welcoming them for who they

school. She continually gets up, gets distracted,

are and not for what they lack.

flies with thoughts, and doesn't follow lessons. Her teachers worry about her, punish her, scold

Long live the differences, the little black sheep and the misunderstood. They are the

her, reward the few times that she is attentive,

ones who create beauty in this world.

but nothing. Gillian does not know how to sit and

“And those who were seen dancing, were thought to be insane by those who could not

cannot be attentive.

hear the music."

When she comes home, her mother punishes her too. So not only does Gillian have bad grades and punishment at school, but she also suffers from them at home.

Gillian Barbara Pyrke was born in Bromley, Kent, and was a precocious dance talent from an early age, teaming with her childhood friend Beryl Grey while still at school, and dancing to blot out the tragedy of the violent death of her mother on 8

One day, Gillian's mother is called to school. The lady, sad as someone waiting for bad news, takes her hand and goes to the interview room. The teachers speak of illness, of an

July 1939 in Coventry (as a result of a car crash along with Edward Turner) .

obvious disorder. Maybe it's hyperactivity or maybe she needs a medication. During the interview an old teacher arrives who knows the little girl. He asks all the adults, mother and colleagues, to follow him into an adjoining room from where she can still be seen. As he leaves, he tells Gillian that they will be back soon and turns on an old radio with music.

Dame Gillian Barbara Lynne, DBE (née Pyrke; 20 February 1926 - 1 July 2018) was an English ballerina, dancer, choreographer, actress, and theatre-television director, noted for her theatre choreography associated with two of the longest-running shows in Broadway history, Cats and The Phantom of the Opera. At age 87, she was made a DBE (Dame Commander of the Order of the British Empire) in the 2014 New

As the girl is alone in the room, she immediately gets up and begins to move up and down

Year Honours List.The New London Theatre, where the original West End production

chasing the music in the air with her feet and her heart. The teacher smiles as the colleagues

of Cats played, was officially renamed the Gillian Lynne Theatre in 2018. This made

and the mother look at him between confusion and compassion, as is often done with the old. So he says: "See? Gillian is not sick, Gillian is a dancer!"

Lynne the first non-royal woman to have a West End theatre named after her.

This is a short story TRUE story which had a fortunate ending, we wish to all children

He recommends that her mother take her to a dance class and that her colleagues make

who are DIFERENT than the main stream.

her dance from time to time. She attends her first lesson and when she gets home she tells her mother: "Everyone is like me, no one can sit there." 88

89

The Divine Heartbreak of Romantic Friendship Gauguin’s Stirring First-Hand Account of What Actually Happened the Night Van Gogh Cut off

“as nice as possible, like a woman’s boudoir, really artistic,” he resolved to paint a set of giant yellow sunflowers onto its white walls. He wrote beseeching letters to Gauguin, and when the French artist sent him a self-portrait as part of their exchange of canvases, Van Gogh excitedly showed it around town as the likeness of a beloved friend who was about to come visit.Gauguin finally agreed and arrived in Arles in mid-October, where he was to spend about two months, culminating with the dramatic ear incident.

His Own Ear BY MARIA POPOVA

Newspaper report from December 30, 1888: ‘Last

Reference: Certain relationships are charged with an intensity of feeling that incinerates the walls we habitually erect between platonic friendship, romantic attraction, and intellectualcreative infatuation. One of the most dramatic of those super friendships unfolded between the artists Paul Gauguin (June 7, 1848–May 8, 1903) and Vincent van Gogh (March 30, 1853–July 29, 1890), whose relationship was animated by an acuity of emotion so lacerating that it led to the famous and infamously mythologized incident in which Van Gogh cut off his own ear — an incident that marks the extreme end of what Sir Thomas Browne contemplated, two centuries earlier, as the divine heartbreak of romantic friendship.

Sunday night at half past eleven a painter named Vincent Van Gogh, appeared at the maison de tolérance No 1, asked for a girl called Rachel, and handed her … his ear with these words: ‘Keep this object like a treasure.’ Then he disappeared. The police, informed of these events, which could only be the work of an unfortunate madman, looked the next morning for this individual, whom they found in bed with scarcely a sign of life. The poor man was taken to hospital without delay.’

Vincent van Gogh, “Self-Portrait with Bandaged Ear,” 1889In February of 1888, a decade after Van Gogh found his purpose, he moved to the town of Arles in the South of France. There, he exploded into a period of immense creative fertility, completing more than two hundred paintings, one hundred watercolors and sketches, and his famous Sunflowers series. But he also lived in extreme poverty and endured incessant inner turmoil, much of which related to his preoccupation with enticing Gauguin — whom he admired with unparalleled ardor (“I find my artistic ideas extremely commonplace in comparison with yours,” Van Gogh wrote) and who at the time was living and working in Brittany — to come live and paint with him. This coveted

In Paul Gauguin’s Intimate Journals (public library), the French painter provides the only first-hand account of the strange, almost surreal circumstances that led to Van Gogh’s legendary self-mutilation — circumstances chronically mis-reported by most biographers and the many lay myth-weavers of popular culture, all removed from the facts of the incident by space, time, and many degrees of intimacy.

cohabitation, Van Gogh hoped, would be the beginning of a larger art colony that would serve as “a shelter and a refuge” for Post-Impressionist painters as they pioneered an entirely novel,

Today, Vincent van Gogh stands as one

and therefore subject to spirited criticism, aesthetic of art. Van Gogh wrote to Gauguin in early

of the most celebrated artists of the

October of 1888.

nineteenth century, and his painting, The Starry Night, completed in 1889, is

I’d like to see you taking a very large share in this belief

not only one of his most famous works,

that we’ll be relatively successful in founding something

but also one of the most famous

lasting.

paintings in the world

Despite his destitution, Van Gogh spent whatever money

Read about these paintings for

he had on two beds, which he set up in the same small

more Stories About Artists Leonardo Da Vinci, Mona Lisa, 1503–19

bedroom. Seeking to make his modest sleeping quarters

Johannes Vermeer, 90

91

Girl with a Pearl Earring, 1665

Digital Story Boards

Story Board with a Single Image

Storyboard artist, Amelia Lorenz, works for Disney. She has a feed that is a vibrant mix of comics, storyboards, life updates, doodles, and character sketches. On her Instagram account, you will find finished digital works and basic ink sketches that can help you better understand her process and style. Background Image : The second season of ‘The Owl House’ Created by Amelia Lorenz

StoryWeaver : E-books creater by Pratham Books c StoryWeaver, a digital repository of multilingual stories for children from Pratham Books. Now, every child can have access to an endless stream of stories in her mother tongue to read and enjoy. For More Information : https://storyweaver.org.in/en/translate

A digital storyboard is a visual representation of a film or video production. It's created using software like Adobe Photoshop or Storyboard Pro to plan out shots, camera angles, and special effects before filming or animation begins. Digital storyboards can be created using software or by scanning traditional pencil and paper images into the software. For Digital storytelling Experience Listen to the Tripti Pareek @

Storyboarding is the process of sketching out the progression of a marketing video, animation, or film. Each scene or shot is assigned a panel, and each panel includes a visual sketch or a photo of the concept. You can include dialogue, notes, audio, and more in each panel.

https://www.youtube.com/@triptipareek1982 https://bookbox.com/ and many more... 92

93

Children’s Literature Children’s Literature about the background image Raskin bond is an eminent Indian writer of British descent who is famous for authorizing very prolific literature books for children. Furthermore, due to his immense effort in the field of English, he was awarded the prestigious Sahitya Akademi Award.

The Lost Drop by Grégoire Laforce, Illustrated by Benjamin Flouw I remember when I first learned about the water cycle, about how it makes of our planet a living world and binds the fate of every molecule to that of every other. I remember feeling in my child-bones the profound interconnectedness of life . That wondrous interleaving of space, time, and being comes alive with uncommon sweetness in The Lost Drop by Grégoire Laforce, illustrated by Benjamin Flouw — a vibrant love letter to the water cycle as a portal to deep time and deep presence, and a subtle celebration of the on goingness of life as a way to bear our mortal smallness in the great scheme of being. The Story : The lost Drop The story, rendered with the charming feeling-tone of mid-century illustration, begins with a little drop named Flo, who falls from the sky and, upon hitting the ground, is seized with the existential question that pulsates beneath every life: Who am I and where should I go? She finds herself pulled by gravity down a slope and into a stream — the portion of the water cycle called runoff. As she flows, she asks all the rocks and trees and animals nourished by the stream what her purpose might be, but they just nod and smile. The stream pours into a lake full of prehistoric sea creatures, and still she goes on wondering about her fate. Then a waterfall leaps her into the air and plunges her into the dark depths, still and silent. She screams her question into the silence as she drifts toward the surface, until a sudden surge of sunlight envelops her — the evaporation portion of the water cycle begins. Flo grows smaller and smaller, then seems to become part of the light, almost vanishing into the air — “but not quite.”

The genre encompasses a wide range of works, including acknowledged classics of world literature, picture books and easy-to-read stories written exclusively for children, and fairy tales, lullabies, fables, folk songs, and other primarily orally transmitted materials.

94

Flo helped make the trees dance, and united the breath of all living creatures, and lifted wings into flight. There is homecoming in the sky as the condensation part of the cycle returns Flo from vapor back to liquid, at last conferring meaning upon her existence as a unit of aliveness and a particle of time, four billion years old yet ever-new. 95

The Evening @Mango My Experience as a storyteller with the children of my own town. " The Evening @Mango "27th December 2023 In the fast-paced digital era, where screens dominate and technology often serves as a surrogate babysitter, the age-old tradition of oral storytelling appears to be fading into the background. Grandparents, once revered as the keepers of tales, are being replaced by televisions, iPads, and smartphones. As my Mosi lamented, "Nowadays, television is a babysitter for most of us." Reflecting on this shift, I embarked on my storytelling journey in the quaint city of Ajmer. Nestled in the heart of this town is "The Mango Masala," a popular eatery cherished by all age groups. For me, it became the perfect stage to weave tales and engage with the eager minds of children. In the vibrant crowd, children resonated with stories like "Ek Raaja ke Teen Kaan," "Jeezo Kho Gaya," "Riputzal," and classics like "Snow White." Ancient texts like Kakbhusndi's crow found their place in these narratives, capturing the imagination of young listeners. Surprisingly, their attention, language comprehension, and behavior during these storytelling sessions showcased a remarkable enthusiasm. This experience prompted a reflection on the methods of teaching and disciplining children employed by educators and parents alike. Are we adequately equipped to navigate the chaos of everyday life and actively engage with our children? As storytellers, we hold a treasure trove of narratives within ourselves—stories waiting to be shared, listened to, and passed on. Amidst the clamor of technology, educators and parents must reassess their roles. Do we delegate the responsibility of shaping young minds solely to digital devices, or do we actively participate in their intellectual and emotional development? The essence of storytelling lies not in relinquishing this duty to technology but in taking the time to connect with our children, to listen to their stories, and to share our own. Storytelling is a fundamental right of every child. It transcends the boundaries of passive entertainment provided by screens, nurturing active engagement and imagination. To foster a generation of active youth, we must reclaim the art of storytelling from the clutches of technology and instill the joy of shared narratives into the hearts and minds of the younger generation. In our quest for progress, let us not forget that the power to shape the future lies not just in technology but in the timeless tales we choose to tell and the meaningful connections we forge with the storytellers of tomorrow. 27 December 2023 "The Day at Mango” 96

97

Square Master with this Engaging Activity

The Little Black Hole Right this minute, people are making plans, making promises and poems, while at the center of our galaxy a black hole with the mass of four billion suns screams its open-mouth kiss of oblivion. The story’s central conceit draws on Stephen Hawking’s black hole information paradox — the combined intimation of relativity and quantum field theory that, even though not even light can escape from a black hole. There once was a little black hole who loved everything in the universe. The stars. The planets. The space rocks and the space fox. Even the flying astronauts. The little black hole loved her friends. One day, the little black hole befriends a star, but just as they are delighting in building a cosmic castle together, the star vanishes, her light nowhere to be seen. Next, a comet swings by, but just as the little black hole grows giddy for a new friendship, the comet crumbles to cosmic dust and disappears. So they come and they go, the planets and the asteroids, the fox and the astronauts, each new friend taken away as soon as they get close, leaving the little black hole baffled and bereaved. Confused and disconsolate, the little black hole comes upon a big black hole replete with an elder’s wisdom, who illuminates the fundamental fact that to be a black hole means to swallow and annihilate anything and anyone who comes near. And yet bits of information can escape from the belly of the black hole, bubbling back up as remnants of what was consumed. Out of Hawking’s legacy arises the story’s central metaphor for how to live with loss: Because, in poet Meghan O’Rourke’s lovely words, “the people we most love do become a physical part of us, ingrained in our synapses, in the pathways where memories are created,” we can always bring them back up to the surface of our consciousness with the twin levers of memory and imagination. This might seem like cold consolation for the infernal heat of loss. And yet it is no small gift that a cold cosmos kindled the warm glow of consciousness — this radiant faculty that makes it possible to love and to suffer, to imagine and to remember; this wonder that — like music, like love — didn’t have to exist.

98

99

Storytelling Photography

Documentary Photo Story When we share images online we

Documentary

tell stories. We’re sharing our

photographs depict

A picture can tell a story and convey emotion, mood, and

experiences with the world through

subjects through the

messages—even evoke understanding that words can't.

a visual narrative.

lens of a

Most professional photographers know this instinctively;

photographer with a

moving to capture a complex moment or fleeting

sharp, critical eye

expression, taking pictures with the intent to tell a story.

and an important story to convey through intentional imagery.

Listen to their eyes! Photos from streets of Ajmer The images combine to offer a short story Ebrahim SALIMIKOUCHI (1981) was born in Fasa, Iran. After his years of high school where he

that

studied mathematics, he became a teacher for nomadic children of his tribein the south of the

describes

country. Apart from his specialized works and his research in the field of comparative and ecological

the

literature that is published in international journals he writes novels and short stories:

Stories are at the heart of our social and cultural heritage. No matter where we’re from, we all grow up listening to stories and passing them on. They’re an

He is also documentary and street photographer and has been a member of the jury for numerous literary, photographic, and film festivals. He had more than ten photographic exhibitions in France, Turkey, Algeria and Iran. 100

experience.

intrinsic part of the social landscape; from religious beliefs and dogma to popular culture and art, stories Ebrahim Salimikouchi Documentary And Street Photographer

are at the core of human communication. 101

Integrated Lesson Plans Story telling is not simply narrating a story, it is reliving the existence of mankind again.

LETTER

Dear Esteemed Storytellers, I extend a warm welcome to you as we embark on an enriching journey to delve into the world of storytelling within your classrooms or activity centers. As you progress, you will discover a series of meticulously crafted lesson plans designed to seamlessly integrate storytelling into your teaching methodologies. These plans are rooted in a multidisciplinary approach, bolstered by the incorporation of technology as a valuable assistant. The narratives accompanying these lesson plans are encapsulated in this book for your easy reference. Feel empowered to make necessary adjustments and adaptations to tailor these plans according to the unique needs of your learners. It is our fervent belief that storytelling is a universal thread woven into the fabric of human experience, catering to learners of all ages, from the young to the elderly. Your creative inputs are not only welcomed but encouraged. If you find avenues for improvement or have innovative edits to share, please do so. This collaborative effort ensures that storytelling becomes an integral part of our classrooms, transforming them into vibrant spaces of enriched learning. Thank you for your unwavering support on this journey. Together, let us create classrooms that resonate with the magic and power of stories. Warm regards, Tripti Pareek January, 2024

102

103

Telling Stories with Masks Step by Step Guide Activity In this project, you will create a mask that represents a character of your own invention. The character can be anything you imagine: from an average person to an extraterrestrial. It’s up to you! Whatever you choose, think about who that character is, and how they live their life. After the masks are completed, you will be paired with a partner who will be chosen at random. You and your partner will then ‘introduce’ each other to your respective characters, and create your own story for these characters. Together, you can decide how to introduce these characters to the rest of the class. You and your partner can present the characters separately or together. This project should be executed over the course of at least 4 separate sessions. Media: Sculpture, performance, and video (optional) Materials: Balloons Recycled newspaper and/or printer paper Flour Water Shallow trays for mixing paste Wooden or plastic mixing sticks Large, clean yogurt containers Needles X-acto knife Scissors Ribbons, cording, elastic, or rope to hold up mask

surface with old newspaper to avoid getting the table dirty. 4. Prepare your papier-mâché materials: Inflate and tie off a balloon sized just a little larger than a human adult head. The balloon will provide the shape for your mask. Rip or cut the recycle newspaper and/or print paper into various shapes, e.g. strips, triangles, and squares. Create a paste by mixing together 2 cups flour and 1 cup water. Build the masks: Dip the paper into the paste and let it soak in the paste. Be sure to wipe off excessive paste from the

paper and then cover the balloon with these papier-mâché pieces. Use a minimum of 5 thin layers of papier-mâché paper, alternating the direction of how the paper is adhered. Mold on extra features and shapes as you see fit. It may be helpful at this point to stabilize the mask by proving it up in the opening of a larger yogurt container. Let your mask dry overnight. Session 2: Making Your Mask, Part 2 Holding the balloon by the tied-off end, pop it with a needle and pull it out. Using scissors or an X-acto knife, cut the papier-mâché sphere in half. If desired, cut eye, mouth and nose holes. Alter the mask to fit. You may be able to gently mold it to fit the shape of your face. Use extreme caution here so as to not crack the mask. Remember, the mask may be worn. Securely attach ribbons, cording, elastic, or rope so that the mask may be worn. Decorate the mask using whatever materials you wish. Session 3: Creating Your Character Part 1

Additional materials for decorating: Paints and brushes Markers Fabric pieces Glue Session 1: Making Your Mask, Part 1 1. To prepare, start by thinking about the character you want to create. You can start with a clear vision of this character or you can let it emerge through the process of making the mask. Will your character mask be scary, wacky, or refined? 2. Next, spend some time researching masks online, with a special focus on those made with papiermâché. Think about what you want your papier-mâché mask to look like. 3. Prepare your work area and gather your materials. It is recommended that you cover your working 104

Pick a partner at random. The ideal partner is someone you don’t know well. Get together with your partner — ideally in a semi-private place — and take turns introducing each other to the characters you have both created with your masks. Ask each other questions about your respective characters. It’s fine to work together to figure out details about who each of your characters are. Together, create a short story/stories, poem, or song/rap about each character. You can either create two different short stories for each character or one story in which both characters are involved. Think about how you might like to present your story/stories, poem, or song/rap. Should you wear the mask? Should you bring in props from home to tell the story? Should you wear a special outfit? Practice telling the story with your partner. Take notes if you need to help yourself remember. Session 3: Presenting Your Character Part 2 With your masks and props (if any), take turns presenting your stories to the class. 105

Art Integrated Learning Lesson Plan on Harappa Civilization

( Imagine and answer ) 1. What do you think the object was used for? 2. Who do you think would have used the object? 3. What does the object tell us about the time period when it was made and used? 4. Do we still this object today? If so, how is it different?

Plot/Storyline : Narration ( The Teacher can read out the following from a piece of paper )

Section 3

Harappa, an ancient city full of wonders, had wide streets lined with houses made of special bricks and a clever drainage system that kept the city clean. People worked as farmers, craftsmen, and traders, coming together to create a bustling and thriving community.

Cityscapes — Exploring the architecture as experts

Section 1 Life in Harappa — Exploring The local market through Tableaus : Warm up : Discuss with students what they find in a local market today and what they think would be a harappa market. Ask the children to draw a sketch ( have it labeled ) in their notebook and then ask a few of them to volunteer and describe what they have drawn. Make a rectangular box on the floor with a masking tape. Divide the children into different groups. Ask one group at a time to come inside the box and make a tableau of the local market that they can imagine. You can ask simple questions ( tap or touch the head of the child indicating that they can now answer the question ) as to who they are and what they are doing. ( The idea is only to get them started thinking and not arrive at any conclusion ).

Activity : Teacher in Role and Mantle of Expert ( Drama Integration ) Divide the children into different groups and assume these groups are experts in their areas .Assign each group to research about a specific site( if possible, give printed pictures of that specific site) and ask them to present their findings based on the research questions ( ask them to read the relevant portions of the ncert textbook ). While presenting their findings, the facilitator can ask questions and have a conversation by assuming the role of the lead town planner of the harappa city while the children being the experts. Research Questions 1. Who used this site 2. What was taken into consideration while building this site 3. Are there any present day examples of a similar site ? if so how are they different? Examples of site(s) :

Warm up : Discuss about the various jobs harappans would have had and what would have been their challenges

1. Drainage system 2. Dwelling Houses 3. Roads 4. Granaries 5. Administrative buildings 6. Fortification for defence 7. Space for conducting Ceremonies 8. Farm lands

Activity : Teacher in Role ( Drama integration )

NOTE

( Examples of Artifacts : Seals, Figurines, Pottery, Weights, Beads, Tools, jewelry etc)

Drama in Education Conventions used

Project any three different pictures of available artifacts amongst the groups and ask the children to answer the following questions in their notebook.

Tableaue : A representation of a dramatic scene by a person or group, posing silently without moving.

Section 2 Artifact Study — Exploring the primary sources as historians

While each group presents its findings, the facilitator can ask questions while playing the role of a historian/archaeologist while the children can answer the questions and play the role of his/her juniors who found the artifact during the excavation.

Teacher in Role ( TiR) : The teacher or facilitator assumes a role in relation to the pupils. Mantle of Expert ( MoE) : Involves the creation of a fictional world where students assume the roles of experts in a designated field

The facilitator can wear a hat whenever he/she is assuming the role of the historian. The facilitator may go back and forth being a facilitator or a historian based on the conversation’s need.

Historical Thinking Framework used

( Observe and answer )

Artifact Analysis : What do objects have to say about people and their culture, time, and place

1. What do you think it is ? 2. What do you think it is made of ? 3. How does the object feel to be in your hand ? 4. What is the color of the object ? 5. What is the shape of the object ?

Topics Covered ( Grade 6 / History / Earliest cities )

106

Understanding the socio-poiltico-ecconomic life during the Harappa civilization using artefacts and the town planning evedinces through story enactment. 107

Galaxy Wanderers

Part 2 ( Narration — Idea exploration ) One day, Nova found something fascinating — a street filled with colorful cars! He noticed that cars moved around, just like living creatures. Cars had wheels to “walk,” and

Part 1 : Narration ( Fiction make belief )

they even had engines that made them go “vrooom!” Excitedly, Nova took a car back to

Once upon a time, in a faraway galaxy

Lumina to show everyone. He believed the car

called Lumina, there was a friendly alien

was a moving being!

named Nova. Lumina’s planet wanted to

Activity, Drama Integration- Hot seating

know if there were moving things on Earth, so they sent Nova on a special mission.

The teacher can take the character of Nova. Children are allowed to ask questions to “Nova” who is seated in front of them. Tell the children to ask 1 line questions . The teacher is not expected to

Nova zoomed through space in their shiny

answer every question and only supposed to answer on behalf of “Nova”. This is not dialogic but

spaceship and landed on Earth.

kind of rapid fire.

He explored forests, oceans, and cities, amazed by the planet’s beauty Activity , Drama Integration — Exploration through Soundscapes

Part 3 ( Core Concept ) The Lumina council, although unsure empathized with Nova’s excitement and curiosity about the car’s potential life. Instead of accusing Nova of failing to perform his duty, they decided to hold an

The facilitator can ask the students to make relatable sounds (only) they might hear in a

enquiry to explore the unique situation together. In doing so, they hoped to gain a deeper

specefic context, while the character Nova is moving through the space and then exploring

understanding of both the car’s characteristics and Nova’s perspective. The council knew that an

the earth. The facilitator can add details to the description and take some time to complete this to let the children immerse in this make-belief story.

enquiry was essential in discovering new knowledge and, more importantly, in fostering a compassionate and understanding community. Activity, Drama Integration — Town hall meeting

Alternatively, this can be tweaked to making different groups of children and allocating specifics like forest, ocean etc and then allowing the different groups to create the soundscape according to the narration.

Divide the children into different groups. One group would be arguing for Nova while the other group would be arguing against nova’s belief that the car was a living thing. Ask the students to prepare a list of the reasons why they believe so. They should present their arguments in the

Drama Extended Reflection ( Discuss ): What types of sounds did we use to

establish a location? Why were these the sounds that we

picked? How did they help to evoke a

the evidence to the claim ) The facilitator can engage with questions (

sense of place?

Teacher in Role) while each group presents. The

Where else might you hear these same 108

below format. Framework to be used : a) Claim b) Evidence c) Reasoning ( Make a statement connecting

kinds of sounds? Why?

idea is to push them to think and not lead them to any answers.

109

Story-Telling in Classroom

Part 4 — Assessment The facilitator can make a mind map with all the findings during the previous activity and test various ideas with different concept cartoons ( example given below )

Educators are well aware of the benefits of a multi-ethnic approach to classroom instruction across disciplines (Gersten & Jimenez, 1998). What might be overlooked are the benefits of using folk tales from around the world as rich material for classroom instruction.

Concept Cartoon Example : Draw a sketch of 3 to 4 children looking at a plant and giving statements like a) Plants are not living beings because they dont move b) plants are not living beings because they dont eat like humans and animals do c) plants make their own food so they are living beings d) plants grow so they are living beings

A folk tale is defined as a traditional story passed down from one generation to another, in either oral or written form (Beckson & Ganz, 1960). Such tales may relate cultural myths, or fairy tales such as the Grimm Brothers' stories. From a pedagogical perspective, folk tales serve many purposes.

The concept cartoon presents a range of viewpoints about about a plant being a living or nonliving , including common misconceptions and the scientifically correct response. Get the students to consider what they think about the different opinions. It will help them to justify their own ideas and clarify their scientific thinking. NOTE : Frameworks used Drama in Education Soundscape : Ask students to think about and create the multiple sounds that may be heard in a specific location or event in time. Hot Seating : A character is questioned by the group about his or her background, behaviour and motivation Town Hall meeting : The Town Hall Meeting invites all students to step into role and explore multiple perspectives in a community that is preparing to make a decision Scientific framework used Reasoning : Evidence based arguments Concept Cartoons : Cartoon-style drawings that put forward a range of viewpoints about a particular situation or phenomena Topics covered : Grade 6 , Living organisms — Characteristics of living organisms Drama | National Education Policy | Science | Teaching | Students 110

First, they are playful and set a more learner-centered tone in the class. Secondly, some tales are very old and make a connection with the past for students, perhaps evoking memories of earlier generations. The act of telling a tale orally can be used to advantage in the speech classroom, as well, be it a familiar or unfamiliar tale to the class. Students generally feel comfortable with storytelling: the content, the main point, and the sequence are easier to handle than in other types of speech, so the students can focus on delivery. In addition, unlike a personal narrative, the focus of the speech is not on the student. Many tales are ultimately about communication, the way people interact in a society, often wrestling with moral dilemmas or the true meaning of such terms as friendship, loyalty, and truth. Such tales exist in all cultures, and universal themes and experiences run through them. A multi-cultural class can make great headway with such material. Another reason why folk tales work well in the classroom has to do with their association to the childhood memories that they raise. Peter Farb in World Play (1993) discusses the gnomic expression, a playful use of language such as the riddle, proverb, maxim, pun and metaphor. Gnomic expressions are found in all cultures, and are especially associated with the development of language in childhood (Cairns, 1996). Folk tales are a type of gnomic expression. Introducing them in the classroom may recapture some of the students' experiences of childhood, thus allowing students to take more risks and focus more on communicating to fellow students. The telling of folk tales can be interactive, with class participation emphasized as an activity. Tales take the listener on a journey, much the way teaching does. Happy Storytelling’ 111

LESSON PLAN : CONTEMPORARY STORY

LESSON PLAN : AMAR CHITRA KATHA

Lesson Plan: Inclusive Education and Diversity through Gillian's Story: A Storytelling Workshop for Educators Lesson Plan: Exploring Amar Chitra Katha Themes through Bilingual Comics Creation Objective: 1. Educators will explore the theme of inclusive education and acceptance of diversity by engaging in a storytelling workshop centered around the story of Gillian. 2. The lesson plan includes not only learning the art of storytelling but also adapting the narrative for different learning styles and diverse classroom environments. Materials: 1. Gillian's Story outline (fictional character reflecting diversity and inclusion) 2. Whiteboard, markers, or digital presentation tools 3. Storytelling resources (books, videos, articles) 4. Adaptation templates for lesson planning

Objective: Students will analyze and draw inspiration from Amar Chitra Katha comics to create their bilingual comics using various apps, fostering creativity and language skills. Materials: 1. Amar Chitra Katha comics (digital or physical copies) 2. Devices with comic creation apps (Pixton, Comic Draw, etc.) 3. Drawing materials (for traditional sketches) 4. Bilingual dictionaries or translation tools Duration: 4 class periods (45 minutes each)

Duration: 3-4 hours

Lesson Structure: Lesson Structure: Session 1 - Understanding Inclusive Education through Gillian's Story 1. Introduction to the importance of inclusive education and diversity in the modern classroom. 2. Presentation of Gillian's Story: a narrative emphasizing inclusivity and acceptance. 3. Group discussion on key themes and messages within the story. Session 2 - The Art of Storytelling Workshop 1. Basic principles of effective storytelling: tone, pacing, and engagement. 2. Demonstration of storytelling techniques using Gillian's Story. 3. Small group activities: educators practice storytelling with provided prompts. Session 3 - Lesson Planning and Adaptation 1. Introduction to the concept of adapting stories for diverse learners. 2. Guided activity: educators create a lesson plan based on Gillian's Story, considering different learning styles and abilities. 3. Sharing and peer review of adapted lesson plans. Session 4 - Implementation and Reflection 1. Educators share their adapted lesson plans with the group. 2. Discuss potential challenges and solutions for implementing inclusive education strategies in various classrooms. 3. Reflection on the workshop and its impact on their teaching practices. Assessment: 1. Active participation in group discussions and activities. 2. Effective use of storytelling techniques during the workshop. 3. Quality and creativity of the adapted lesson plan. Extension Activity: Encourage educators to implement their adapted lesson plans in their classrooms and share their experiences and student feedback during a follow-up session. Note: Foster an open and supportive environment for discussion, ensuring that educators feel comfortable exploring and implementing inclusive education strategies. Provide additional resources for ongoing learning and development in inclusive teaching practices.

112

Day 1 - Introduction to Amar Chitra Katha and Comic Elements 1. Discuss the history and significance of Amar Chitra Katha comics. 2. Identify common themes and storytelling elements in Amar Chitra Katha. 3. Introduce basic comic creation concepts: panels, speech bubbles, and characters. Day 2 - Theme Selection and Analysis 1. Allow students to select a theme from Amar Chitra Katha comics. 2. Analyze the chosen theme in terms of characters, plot, and cultural context. 3. Discuss how to incorporate bilingual elements (English and local language) into their comics. Day 3 - Comic Creation Workshop 1. Introduce comic creation apps and demonstrate basic functionalities. 2. Students start creating their comics using the selected theme. 3. Encourage the use of bilingual text for dialogue, narration, and captions. Day 4 - Peer Review and Final Touches 1. Students share their comics with peers for constructive feedback. 2. Discuss the effectiveness of bilingual elements and storytelling techniques. 3. Allow time for final edits and adjustments based on peer feedback. Assessment: 1. Creativity and originality in incorporating Amar Chitra Katha themes. 2. Effective use of bilingual elements in the comics. 3. Overall storytelling quality, including plot development and character portrayal. Extension Activity: Organize a mini "Comic Con" within the class where students showcase their bilingual comics. This encourages a sense of pride in their work and allows for further peer interaction. Note: Ensure students have access to the necessary devices and apps, and consider providing alternatives for those without access. Encourage collaboration and discussion throughout the process to enhance the learning experience.

113

LESSON PLAN : CONTEMPORARY STORY FOREST Lesson Plan: Nurturing Nature - The Exploring Sustainable Development Goals and Climate Action through "The Forest Guardian" Story Objective: Engage class 12 students in an interdisciplinary exploration of sustainable development goals and climate action using the story "The Forest Guardian." Integrate various media tools for research and expression. Materials: 1. Copies of "The Forest Guardian" story. 2. Digital devices (computers, tablets, or smartphones). 3. Access to online resources and databases. 4. Art supplies for visual representations. 5. Research paper writing guidelines. 6. Presentation tools (e.g., PowerPoint, Canva). Introduction (15 mins): 1. Begin with a brief discussion on the importance of sustainable development goals (SDGs) and climate action. 2. Introduce the story "The Forest Guardian" and its themes related to environmental conservation. 3. Emphasize the role of individuals in protecting nature and mitigating climate change. Reading and Reflection (20 mins): 1. Have students read "The Forest Guardian" individually. 2. Facilitate a class discussion on the impact of the story and its relevance to climate action. 3. Encourage students to reflect on the symbolism of the small plant in the desert. Media Exploration (30 mins): 1. Guide students in using digital devices to explore online resources related to sustainable development and climate action. 2. Assign tasks for finding multimedia content such as videos, articles, and infographics. 3. Discuss the diverse media forms used for conveying environmental messages. 4. Read about the Nomadic writer Ebrahim Salimikouchi

3. Encourage thorough research, citing credible sources, and presenting findings coherently. Artistic Expression (30 mins): 1. Assign a visual representation task related to climate action. 2. Encourage the creation of artwork, infographics, or posters conveying messages about environmental conservation. 3. Discuss the power of art in advocacy and awareness campaigns. Modern Pedagogies Integration (30 mins): 1. Discuss modern pedagogies such as project-based learning, inquiry-based learning, and flipped classrooms. 2. Explore how these pedagogies can enhance understanding and engagement in climate action education. 3. Collaboratively design a project or activity applying one of the modern pedagogies to reinforce climate action concepts. Presentation and Peer Review (45 mins): 1. Have students create multimedia presentations incorporating their research and visual representations. 2. Conduct peer reviews, encouraging constructive feedback on content and presentation. 3. Discuss the collective impact of individual actions in climate action. Reflection and Discussion (30 mins): 1. Facilitate a class reflection on the process of researching, creating, and presenting. 2. Discuss the interconnectedness of individual actions and global climate goals. 3. Encourage students to share personal commitments towards climate action. Conclusion (20 mins): 1. Summarize key learnings from the lesson. 2. Emphasize the significance of individual contributions to climate action. 3. Conclude with a call to action, urging students to be stewards of the environment and advocates for sustainable development. This lesson plan combines literature, media exploration, research, and artistic expression to provide class 12 students with a holistic understanding of sustainable development goals and their role as potential "Forest Guardians" in climate action.

Research Paper Writing ( Group Work) (40 mins): 1. Introduce the concept of forest guardians and their role in climate action. 2. Provide guidelines for a research paper exploring the responsibilities, challenges, and impact of individuals as forest guardians. 114

115

LESSON PLAN : MODERN STORIES Lesson Plan: Unveiling Bengaluru - A Multidisciplinary Exploration through Storytelling, Research, and Experiments Objective: Engage adults and senior students in a comprehensive exploration of Bengaluru's name origin by integrating storytelling, research, and experimental investigations across various subjects. Materials: 1. Historical documents, inscriptions, and artifacts related to Bengaluru. 2. Digital devices for online research. 3. Maps and geographical resources. 4. Science experiment materials (if applicable). 5. Art supplies for visual representation. Introduction (15 mins): 1. Begin with a brief overview of Bengaluru and its diverse names and identities. 2. Introduce the three popular stories behind the city's name. 3. Emphasize the multidisciplinary approach by integrating history, geography, and science. Storytelling Session (20 mins): 1. Narrate each origin story of Bengaluru with vivid details. 2. Discuss the historical and cultural context of each story. 3. Encourage participants to reflect on the richness of narratives shaping the city's identity. Research Exploration (30 mins): 1. Provide access to historical documents, inscriptions, and online resources. 2. In small groups, guide participants to conduct research on each origin story. 3. Discuss findings and encourage cross-referencing with multiple sources.

Artistic Expression (20 mins): 1. Provide art supplies for participants to create visual representations. 2. Encourage the creation of storyboards, maps, or illustrations depicting Bengaluru's name origin. 3. Discuss the importance of artistic interpretation in storytelling. Collaborative Discussion (15 mins): 1. Facilitate a group discussion on the intersection of history, geography, and science in Bengaluru's name origin. 2. Explore the impact of storytelling in preserving cultural narratives. 3. Discuss how diverse subjects contribute to a holistic understanding of a city's identity. Presentation and Reflection (20 mins): 1. Each group presents their findings and visual representations. 2. Encourage participants to reflect on the interconnectedness of subjects in unraveling Bengaluru's name origin. 3. Discuss the importance of interdisciplinary approaches in education. Conclusion (10 mins): 1. Summarize key insights gained from the lesson. 2. Emphasize the value of storytelling, research, and experiments in understanding cultural heritage. 3. Encourage participants to carry forward a multidisciplinary approach in exploring other aspects of history and culture. This innovative lesson plan aims to engage adults and senior students in a rich exploration of Bengaluru's name origin, fostering an appreciation for interdisciplinary learning and the diverse narratives that shape a city's identity.

Geographical Analysis (20 mins): 1. Explore Bengaluru's geographical features and the significance of its location. 2. Discuss how geography influenced the city's development and naming. 3. Integrate maps and visual aids for a comprehensive understanding. Scientific Experiment (30 mins - Optional): 1. If applicable, conduct a simple experiment related to beans or plants. 2. Relate the experiment to the stories, exploring the feasibility of bean-related themes. 3. Encourage discussions on the intersection of science and cultural narratives. 116

117

LESSON PLAN : JATAKA TALES Lesson Plan: Jataka Tales and Contemporary Peace Narratives through Storytelling, AI Tools, and Street Documentary Photography Objective: Explore Jataka Tales to instill values of compassion and empathy for contemporary peace narratives. Utilize AI tools for storyboarding and integrate street documentary photography as a means of expression. Materials: 1. Jataka Tales collection or online resources. 2. Digital devices (computers, tablets, or smartphones). 3. AI storyboarding tools (e.g., Storyboard That, Canva). 4. Cameras or smartphones for street documentary photography. 5. Printed resources on peace-building and global issues. Introduction (15 mins): 1. Introduce Jataka Tales as ancient Buddhist stories that teach moral lessons. 2. Discuss the relevance of compassion and empathy in fostering peace globally. 3. Explain the use of AI tools for storyboarding and the integration of street documentary photography for self-expression. AI Storyboarding (30 mins): 1. Provide students with access to AI storyboarding tools. 2. Guide them in creating storyboards that depict a Jataka Tale with a modern twist, focusing on peace and empathy. 3. Emphasize the importance of character development, plot structure, and conveying a moral message.

Image Selection and Reflection (20 mins): 1. Have students select and curate their best street documentary photographs. 2. In small groups, ask them to discuss the stories behind their chosen images. 3. Reflect on how these images connect with the moral lessons from Jataka Tales. Digital Storytelling Presentation (20 mins): 1. Using the AI storyboarding tools, guide students in creating a digital presentation. 2.Each group presents their modernized Jataka Tale, incorporating selected street documentary photographs. 3. Encourage discussion on the impact of visual storytelling and its potential to promote peace. Class Discussion and Reflection (15 mins): 1. Facilitate a class discussion on the interplay between ancient wisdom (Jataka Tales) and contemporary issues. 2. Reflect on the role of empathy, compassion, and visual storytelling in building a peaceful world. 3. Encourage students to share insights gained through the process. Conclusion (10 mins): 1. Summarize the key takeaways from the lesson. 2. Discuss the potential for students to contribute to peace-building efforts through storytelling and visual expression. 3. Conclude by emphasizing the importance of applying timeless values to address modern challenges.

Jataka Tale Exploration (20 mins): 1. Have students read or listen to selected Jataka Tales individually or in small groups. 2. Discuss the moral lessons embedded in the tales and their relevance to contemporary issues. 3. Encourage critical thinking about how these tales can inspire positive actions for peace. Street Documentary Photography (30 mins): 1. Explain the concept of street documentary photography and its power to convey narratives. 2. Discuss ethical considerations and guidelines for respectful street photography. 3. In pairs or small groups, send students outdoors to capture images reflecting themes of peace, empathy, and social harmony. 118

119

LESSON PLAN : MAORI MYTHOLOGY Lesson Plan: Exploring Maori Mythology through Technology and Oral Narratives Objective: Introduce middle school students to Maori mythology through a combination of traditional oral storytelling and modern technology. Materials: 1. Digital devices (computers, tablets, or smartphones). 2. Access to educational websites or apps on Maori mythology. 3. A projector or interactive whiteboard. 4. Paper, markers, and other traditional art supplies. 5. Printed resources on Maori myths and legends. Introduction (15 mins): 1. Begin with a brief overview of Maori mythology, emphasizing its cultural significance. 2. Discuss the importance of oral traditions in Maori culture. 3. Introduce the integration of technology into the lesson plan and its role in storytelling. Digital Exploration (20 mins): 1. Allow students to explore Maori myths using digital devices. 2. Direct them to educational websites, videos, or interactive apps that provide information on key myths and legends. 3. Encourage note-taking on important elements of the stories.

2. Encourage students to explain the key elements of the myth and why they chose specific digital features. 3. Facilitate a discussion on the impact of technology on storytelling and its role in preserving cultural narratives. Traditional Art Expression (15 mins): 1. Provide students with traditional art supplies. 2. Ask them to create visual representations of characters or scenes from the Maori myths they explored. 3. Emphasize the connection between traditional art and oral storytelling in Maori culture. Reflection and Discussion (10 mins): 1. Facilitate a class reflection on the integration of technology and oral storytelling in learning about Maori mythology. 2. Discuss the significance of preserving cultural narratives and the role of different mediums in storytelling. Conclusion (10 mins): 1. Summarize the key learnings from the lesson. 2. Emphasize the importance of respecting and understanding diverse cultural narratives. 3. Invite students to share their reflections on the integration of technology and oral traditions in the exploration of Maori mythology.

Oral Narrative (30 mins): 1. Facilitate a discussion on the oral tradition of storytelling in Maori culture. 2. Share a Maori myth orally, emphasizing the importance of tone, rhythm, and expression. 3. Divide students into small groups and assign each group a different Maori myth to read and practice retelling in their own words. Technology Integration (30 mins): 1. Instruct students to use digital tools to create a multimedia presentation or animation based on the Maori myth assigned to their group. 2. Encourage creativity in incorporating visuals, sound effects, and narration. 3. Provide guidance on using technology effectively for storytelling. Group Presentations (20 mins): 1. Each group presents their multimedia creation to the class. 120

121

LESSON PLAN : EPIC MAHABHART Lesson Plan: Interactive Bhagavad Gita Storytelling Experience** Objective: Students will actively engage with the teachings of the Bhagavad Gita through storytelling, promoting understanding and personal interpretation of the text.

Interactive Storytelling Sessions (45 mins): 1. Groups perform their storytelling sessions for the class. 2. Allow for questions and reflections after each performance. 3.Students can use visual aids, props, or multimedia elements to enhance their presentations.

Materials: 1. Bhagavad Gita excerpts or summary. 2. Whiteboard and markers. 3. Storytelling prompts. 4. Recording devices (optional). 5. Art supplies for visual aids (optional).

Reflection and Discussion (20 mins): 1. Facilitate a class discussion on the diverse interpretations and insights gained from the storytelling sessions. 2. Discuss how various themes from the Bhagavad Gita can be applied to contemporary situations. 3. Encourage students to reflect on the personal impact of the teachings.

Introduction (15 mins): 1. Begin with a brief overview of the Bhagavad Gita, emphasizing its significance and teachings. 2. Discuss the power of storytelling as a means of understanding and retaining complex concepts. 3. Introduce the interactive storytelling activity as a creative exploration of the Bhagavad Gita.

Recording and Sharing (Optional, 15 mins): 1. If feasible, record the storytelling sessions. 2. Share the recordings with students for self-reflection or to showcase their creativity to a wider audience.

Guided Reading (20 mins): 1. Provide students with key excerpts or a summary of the Bhagavad Gita. 2. Guide them through the text, highlighting important teachings and characters. 3. Discuss the themes, including duty (dharma), righteousness, and the paths to spiritual realization. Group Brainstorming (15 mins): 1. Divide students into small groups. 2. Assign each group a specific theme or teaching from the Bhagavad Gita. 3. Encourage brainstorming on how to represent their assigned theme through storytelling.

Conclusion (10 mins): 1. Summarize key learnings and insights from the storytelling experience. 2. Discuss the relevance of the Bhagavad Gita teachings in fostering personal growth and ethical decision-making. 3.Conclude with an open invitation for ongoing exploration of the Bhagavad Gita's wisdom. This innovative lesson plan not only enhances students' understanding of the Bhagavad Gita but also encourages creative expression and personal engagement with its timeless teachings.

Storytelling Workshop (30 mins): 1. Each group prepares a short storytelling session. 2. Students can use spoken word, visuals, or dramatic elements to convey their chosen theme. 3. Encourage creativity and personal interpretations while staying true to the essence of the Bhagavad Gita. 122

123

LESSON PLAN : MAGICAL BEANSTALK FAIRY TALES

LESSON PLAN : EPIC ACHILLES AND PATROCLUS

Lesson Plan: Journey to the Magical Beanstalk - Storytelling, Art Integration, and Hands-on Activity

Lesson Plan: Exploring Achilles and Patroclus in the Iliad

Objective: Engage primary children in the world of fairy tales, specifically "Jack and the Beanstalk," through storytelling, art, and a hands-on gardening activity.

Objective: Students will analyze the Achilles-Patroclus episode from the Iliad to understand themes of heroism, the consequences of pride and wrath, and the human condition.

Materials: 1. Picture book or storytelling props for "Jack and the Beanstalk." 2. Drawing/painting supplies (paper, markers, crayons, paints). 3. Small pots, soil, and bean seeds. 4. Gardening tools (shovel, watering can). 5. Large paper or chart for collaborative art.

Materials: 1. Copies of relevant passages from the Iliad. 2. Whiteboard and markers. 3. Discussion prompts and questions.

Introduction (15 mins): 1. Begin with an animated storytelling session of "Jack and the Beanstalk." 2. Discuss key elements of the story, such as the magic beans, the giant, and the beanstalk. 3. Explain the upcoming art and gardening activities related to the fairy tale. Art Integration (30 mins): 1. Provide each child with drawing/painting supplies. 2. Encourage them to illustrate their favorite part of the story or create their own magical beanstalk scene. 3. Foster creativity by allowing them to use colors and shapes freely. Hands-on Gardening Activity (30 mins): 1. Explain the connection between the story and real-life by discussing plants and seeds. 2. Distribute small pots, soil, and bean seeds to each child. 3. Guide them in planting their own "magic beans" in the pots. 4. Discuss the importance of watering and caring for the seeds as they grow. Collaborative Art Project (20 mins): 1. Set up a large paper or chart in a shared space. 2. Encourage children to contribute to a collaborative art project depicting a giant beanstalk. 3. They can add leaves, clouds, and other elements to create a group masterpiece. Storytelling Reflection (15 mins): 1. Gather the children and ask them to share their artwork. 2. Discuss how their drawings and the gardening activity connect to the fairy tale. 3. Encourage them to express what they enjoyed most about the story and the hands-on experiences.

Introduction (15 mins): 1. Briefly introduce the Trojan War and the central characters, focusing on Achilles and Patroclus. 2. Discuss the concept of heroism and its portrayal in ancient Greek literature. 3. Share background information on the Iliad and its cultural significance. Reading and Annotation (30 mins): 1. Assign relevant passages depicting the Achilles-Patroclus episode. 2. Encourage students to annotate and highlight key lines related to emotions, motivations, and consequences. 3. Discuss the nuances of character relationships and conflicts within the text. Group Analysis (20 mins): 1. Divide students into small groups. 2. Assign discussion prompts exploring themes such as pride, grief, and the impact of revenge. 3. Groups analyze their assigned themes within the context of the Achilles-Patroclus episode. Whole-Class Discussion (15 mins): 1. Each group presents their findings, fostering a comprehensive understanding of the episode. 2. Encourage students to connect the themes to broader concepts like heroism and the human condition. 3. Address questions and facilitate a class discussion on the emotional depth of the characters. Creative Expression (20 mins): 1. Have students choose a medium (writing, art, or drama) to express the emotions of Achilles or Patroclus during the episode. 2. Encourage them to reflect on the consequences of actions and the complexities of human emotions.

Conclusion (10 mins): 1. Recap the key elements of "Jack and the Beanstalk." 2. Discuss the importance of nurturing plants and the magic of growth. 3. Conclude with a reflection on creativity, imagination, and the joy of storytelling.

Conclusion (10 mins): 1. Summarize the key themes explored in the Achilles-Patroclus episode. 2. Discuss how these themes resonate in contemporary literature and art. 3. Reflect on the enduring impact of ancient Greek epics on Western culture.

This lesson plan combines the enchantment of storytelling, the creativity of art, and the hands-on experience of gardening, offering primary children a multidimensional exploration of the magical world of "Jack and the Beanstalk.”

This lesson plan aims to engage students in critical analysis, discussion, and creative expression, fostering a deeper understanding of the Achilles-Patroclus episode in the Iliad.

124

125

FISH BOWL ACTIVITY

MUSIC AND STORYTELLING

Activity - Rules for the Participant :

Is a very important aspect of all Indian classical dance and music diverse and distinctive story telling

Participants are divided into groups of three: narrator, listener, and observer.

tradition have evolved in different regions of India

The observer silently notes approximately five points about the teller and five about the listener

without expressing personal views. Observers are not allowed to speak during the fish bowl; their role is to listen and observe. Fish bowl participants have the freedom to guide the conversation where they want or need it to

1. Villipattu/Burrakatha:** Ancient halladic tradition in Tamil Nadu. Uses a bow for musical accompaniment along with conventional instruments. Performed during temple festivals of folk deities. Adapted to modern times with government support.

2. Burrakatha Folldorists:*

go.

Combine folk songs and narratives from Hindu Mythology. Infuse humor, including contemporary events like politics.

Ground rule: Observers refrain from concluding or bringing in their opinions. Possible prompts for the conversation include discussing experiences on the way to the workshop

or sharing favorite life moments.

Originally popular in interior Karnataka and Andhra Pradesh. Facing a decline in the sub-continent.

3. Goravayyas:* Wandering singers singing mythological stories of Lord Shiva.

Participants can share a story about a teacher's action that made them feel included/excluded in

Compose their own music and lyrics. Use a single-stringed instrument called ektara and cymbals.

the learning process. Everyone in the fish bowl should have an opportunity to talk. Roles (teller, observer, listener) should

be rotated to ensure everyone participates. The fish bowl discussion should last at least 15 minutes, with the option to extend if time allows.

Emphasis on deep listening as a crucial skill throughout the activity.

Travel from house to house in villages.

4. Chandaini:* Storytelling and musical tradition in central and northern India. Features a Ragi (respondent) interacting with the lead performer in spoken narrative. Not dominated by any specific caste or powerful group. Retains community spirit, performed during village fairs and celebrations.

126

127

STORY PROPS

Storytelling with Props: Enhancing Narrative Experience** 1. Introduction Utilizing story props like pictures, masks, puppets enhances storytelling. Boosts self-confidence and immersion in the narrative. 2. Power of Pictures in Storytelling Pictures complement words, aiding in Retention, Recall, and Retell (3Rs). Example: Chitrakatha tradition by Thakars in Maharashtra. 3. Diverse Storytelling Traditions Pabuji tellers in Rajasthan use scrolls with illuminated pictures. Kamishibai tellers in Japan employ hand-painted story cards. 4. Using Chitrakathas in the Classroom Presentation on Flannel Board or Bulletin Boards. Children creating their flannel board stories enhances language skills. 5. Implementation of Chitrakathas Arrange figures and pictures in a sequence for storytelling. Display stories on strings in open spaces for dynamic engagement. Plan follow-up activities to reinforce storytelling comprehension. 6. Other Storytelling Forms in India Pato paintings in Bengal and Rajasthan. Padam Kathas from Andhra Pradesh, combining pictures and performances. Kavad, a storytelling cupboard unveiling panels to narrate Indian Epics. 7. International Storytelling Practices Kamishibai in Japan involves cycling storytellers with hand-painted story cards. Conclusion - Varied storytelling traditions globally use props to enrich the narrative experience 128

MASKS

Masks in storytelling The mask, symbolizes the difference between a fictitious identity and a real identity, or perhaps better, between what passes as the difference between fiction and reality. There is an actor behind the mask who represents someone else, which, however, he could not do if he were someone else. Types of Masks: Versatility of Masks: Representing various characters, animals, people, and objects.Purposeful Usage: Creating a strong impact on the audience. Ideal for 'out-of-the-classroom' storytelling. Focusing attention on a main or unusual character. Encouraging shy children to embrace acting through characters. Three-Dimensional Masks: Headgear covering face and head. Materials: clay, plaster of Paris, paper mache, wood, and cloth. Two-Dimensional Masks: Covering front part of the face. Materials: canvas cloth, rubber, plastic, KG cardboards. Quick Painted Mask: Dip fingers in paint. Stretch along the face for an improvised mask. Balloon Mask: Inflate balloon. Apply torn newspaper dipped in water and glue. Cover balloon, let it dry for a day or two. Cut balloon in half. Mold character by cutting eyes, nose, etc. Color and decorate.

Cardboard Mask: Draw face on shaped cardboard. Color with paint, color pencils, or materials. Add wool for hair. Place on face, cut eye and mouth holes. Thread a string through holes with a knot in front. 129

COSTUMES

PUPPETS

The Importance of Costume in Storytelling A costume is a set of clothes that is unique to a particular person or time period. The costumes are not just outfits, they're pivotal storytelling tools that help shape characters. They give insight into a character's personality & circumstances. Why Tellers have used costumes

Puppets are little people made from scraps of material which come to life in hands of a puppeteer *The Magic of Puppets in Storytelling* 1. Little Wonders Come to Life - Puppets, crafted from scraps, enchant as they come alive in a puppeteer's hands. 2. Underutilized Classroom Stars - Despite popularity, classrooms often underuse puppets; a missed

Global Character Engagement : Utilize costumes to elevate the classroom experience by incorporating characters from various cultures. Narrate stories featuring iconic figures like Akbar and Birbal, enhancing historical understanding through visual elements. Creative Costume Options : Explore costume options by either getting them stitched or renting them to make storytelling more immersive. Foster creativity by using waste papers to craft accessories like caps and hats, adding a hands-on element for children. Visual Storytelling Setup : Enhance the storytelling environment with a backdrop using a story cloth or bedspreads, creating a visually appealing setting. Utilize everyday items like handkerchiefs or dupattos to play different characters, making the storytelling experience dynamic and engaging. Inspiring Examples from Around the World. Japan's Character Apron : Discover how a storyteller in Japan incorporated characters by stitching them onto an apron, creating a unique and captivating storytelling approach. Versatile Black Cloth Performance : Explore the innovative use of a single piece of black cloth by a play actor, transforming it into various elements like a head cloth, rope, cradle, sari, noose, flag, and screen to captivate the audience's imagination. Excitement Through Personalized Costumes : Witness the impact of a storyteller who had an overcoat stitched with characters from her expertise, sparking excitement among children whenever she wore it. Conclusion : Incorporating costumes in storytelling not only educates children about different periods and cultures but also adds a layer of excitement and creativity to the learning experience.

130

opportunity for engagement. 3. Engaging the Young Minds - Puppets captivate in early childhood classrooms, making storytelling a vibrant and interactive experience. 4. Beyond Professionalism - No need for a pro puppeteer or pricey puppets; creativity turns everyday items into enchanting storytelling tools. 5. Anywhere, Anytime, Anyone - Puppets, from catalogs to paper cups, offer endless possibilities for imaginative storytelling adventures. 6. Gateway to Joyful Learning - Puppet-led storytelling introduces children to the joy of literature and sparks their imaginative exploration. 7. Relaxation for Storytellers- Puppets shift focus to their animated antics, easing storytellers into a more relaxed and enjoyable narrative experience. 8. Storytelling's Animated Essence - Puppets breathe life into stories, making the art of storytelling a vivid and dynamic endeavor. 9. Versatile Learning Tools- Puppets transcend storytelling, aiding in vocabulary teaching, encouraging conversation participation, and fostering turn-taking. 10. Size, Place, Number – Concepts Unveiled* - Puppets serve as visual aids, unraveling concepts of size, place, and number in an engaging and memorable manner. 11. Emotional Exploration- Puppetry becomes a conduit to explore feelings, building self-esteem and confidence in the young audience. 12. Puppet Plays and Beyond - Stories seamlessly transform into puppet plays, showcasing the versatile role of puppets in multifaceted learning experiences. 131

A child A book A read A chat. This is the way The mind grows. Not with a test but a Tale! Tell The Tale Image: Ebrahim Salimikouchi

~ Tripti Pareek

132