MariaLauraFuertes Teach Kids

University Fulbright
of Maryland,
College
USA
Prof. Maria Laura
Distinguished
Awards Park,
in Teaching
Program
FULBRIGHT
Brainy Ways to Teach Kids Through Stories
DISTINGUIS
HED
AWARDS IN
TEACHING
PROGRAM
Fuertes. ARGENTINA
BRAINY
WAYS TO
2010
TEACH KIDS THROUGH
STORIES
Acknowledgements
I am grateful to the Fulbright Commission, Bureau of Educational and Cultural Affairs,
Fulbright Distinguished Awards in Teaching Program
the US Department of State and the Academy of Educational Development for developing
and organizing the Distinguished Awards in Teaching Program and giving me the unique
opportunity to be part of this enriching experience.
Many people have contributed to my experience, of which this Capstone Project is just
one outcome. At the University of Maryland, I am thankful to Dr. James Greenberg and Mrs.
Letitia Williams, for
their constant support and encouragement; my mentors Dr. Lea Ann
Christenson and Dr. Paula Beckmann who have lovingly guided and helped editing my work;
Dr. Nathan Fox, who spent time sharing his expertise in the area of brain research with me. I
would like to show gratitude to Sean Layne and Michelle L. Carney, Program Coordinator of
Changing Education Through the Arts from the John F. Kennedy Center for the Performing
Arts who have allowed me to participate in an unforgettable workshop.
I want to mention
my DAT colleagues with whom I have discussed and shaped the
development of the project. This growing experience would not have been the same without
them.
I owe my deepest gratitude to my mother, to Constanza de la Vega and to Lucrecia

Prat Gay de Teisaire. Their exemplar professionalism and love for teaching have always
Distinguished Awards in Teaching Program
guided me in my Fulbright
career. I am
grateful to Asociacion Educar for all I have learned from them
about Neuropsychoeducation and especially to Mirta Polla Rossi, who has lovingly introduced
me to this new field and guided me ever since. Also, to my students, who are my main
sources of inspiration, and to my school principals for allowing me to take some time away
from my daily duties to be part of this experience and work on this project. I would like to
thank my family and friends who have virtually accompanied me throughout.
Table of Contents
Introduction
Learning is About the Brain
Learning is About Survival
Learning Requires Activation Prior Knowledge
Attention is Key to Learning

8
Learning is About Emotions
The Environment Affects Learning
10

Learning
is About Memory
11
Learning is About Rehearsal
15
Learning is About Social Interaction
17
Learning is About Creativity
18
Tools of the Mind
19
What are Executive Functions?
19

Stories as Fulbright
an Effective
Teaching Tool
Tiny Toy Tales
22
Making Connections
27
Story Kit Sample: Anansi and the Moss-Covered Rock
21
35
Script and Teachers Intervention
35
Analysis of characteristics
40
Story Preview
41
Story Experience
42
Playing with the Story
43
Teacher Training Proposal
10
46
Conclusions and Future Challenges
48
References
49
11

Teachers are a bit like gardeners when it comes to learning. Just like gardeners, teachers
can sow seeds in a learners mind, and can nourish and sustain good ideas and important
facts, and weed out misunderstandings and mistakes.
(Blakemore & Frith, 2005)
12
This analogy illustrates how I usually think of my job as an EFL teacher in Kindergarten
and Primary School
in Argentina: That of a gardener, planting a little seed in each of my
students. Whether the seed grows into a little plant or a leafy tree (or does not grow at all) will
probably depend on future experiences and continued exposure.
13
Education is to the brain what gardening is to a landscape. Every time an individual

learns something new, something in the brain has changed (Blakemore & Frith, 2005).
Learning about how
the brain works has opened up a path to rethink teaching tools and
strategies in the classroom. This is a path that can enlighten the work of those educators who
decide to follow it. I decided to take this path some years ago when I was first introduced to
this topic at some seminars and then decided to start studying Neuropsychoeducation:
14
Sciences and Neurosciences for the general public, in clear and simple language, for the
understanding and improvement of our behavior with Asociacion Educar
(www.asociacioneducar.com)
This field is currently being defined by some experts as Mind,
Brain and Education Science. The more teachers know about how the brain works, the better
we will be able to design instruction to match how the brain learns best.
15
Neuroscientists claim we are at an early age in our understanding of the brain. Indeed,
some scientists and some teachers consider it is too soon to think about the connection
between researchFulbright
and the classroom
(Bruer, 2002). Yet there are some concepts about how
the brain works that confirm what experienced educators have known and used in their
classrooms. Research adds further understanding of why some strategies work and which
ones should always be present: Although current brain science technologies offer exciting
16
opportunities to educators, they complement rather than replace traditional methods of

educational enquiry (Goswami, 2004).
Brain scans
cannot, do not and will not give rise to lesson plans. But they certainly
inform. So, there is a growing need to bridge the gap between these two worlds:
neuroscience and education. In fact, The study of learning unites education and
neuroscience (Goswami, 2004). A report presented in 2007 by Pickering and Howard-Jones
17
reflects the high level of enthusiasm of some teachers in the UK and other locations around
the world to relate neuroscience and education. The article also emphasizes the importance
of communicationFulbright
and reciprocal
interaction between professionals in these fields to enrich
classroom practice with scientific understanding of the brain and mind. The new
interdisciplinary field that has emerged: Mind, Brain and Education (MBE) aims at bringing the
18
latest research methods to bear on education and including the wisdom of teachers in
research paradigms. The MBE Society has been formed and a Journal has been launched.
Awards in Teaching Program
Given this Fulbright
new trendDistinguished
in education, my
project puts together some concepts of the brain
and mind with knowledge on education and expertise as an EFL teacher in order to come up
with a proposal to be used in the classroom. The purpose of this project is to describe
19
why teaching through stories is an effective EFL instruction tool for young
learners, within the context of Mind, Brain and Education Science

howFulbright
to implement
a story kit that embodies its main concepts.
The focus is on translating theoretical knowledge to daily classroom practice and an

attempt to make some connections between these two. I have focused on using stories since
they are a major resource to teach EFL to children. Analyzing the use of stories through the
20
lens of Neuropsychoeducation or MBE Science could strengthen the argument about the
power of stories as a tool to teach.
Learning is About the Brain
21
Complex interactions take place every second in our brain. The first step in
understanding how teachers can use knowledge of brain development to promote learning is
to have a fundamental
understanding of basic brain concepts.
A brain cell is called a neuron (Figure 1). Each neuron consists of a cell body, an axon
and dendrites. We are born with a certain number of neurons (probably around 100 billion).
The number of neurons does not change with development. However, what does change is
22
the connections and communication between them. This neuronal communication is what
learning is about. Each neuron has the capacity to connect with others through synapse. A
synapse is the junction
of the axon terminal of one neuron and a dendrite on the cell body of a
second neuron (Wolfe, 2001). Neurons do not touch. Information from one neuron flows in the
form of electric signals passing down the axon to another neuron. Axons are covered by an
insulating fatty tissue called myelin that makes transmission of messages faster. Yet,
23
information cannot be carried to this other neuron in an electrical state; it travels across the
synaptic gap attached to a chemical neurotransmitter that allows this process of
communication between
neurons to take place. As neurons make connections, the brain
grows dendrites and complex neural networks are created. Their connections will grow
stronger each time these neurons fire together. If the brain accesses a neural network often,
the webs are strengthened as well as extended and the axons become heavily myelinated.
24
Learning has been defined by Donald Hebb as Neurons that fire together, wire together:
When an axon of cell A is near enough to excite cell B and repeatedly or persistently takes
part in firing it, some
growth process or metabolic change takes place in one or both cells
such that A's efficiency, as one of the cells firing B, is increased (Wolfe, 2001).
25
26
Figure 1. The Neuron

Building strong
webs is what learning is all about. If what is being learnt is not
meaningful or useful enough to be used again, the network that supports such learning will
become weak and useless. Networks that are regularly used are maintained, strengthened
27
and hard-wired into the brain, whereas others are pruned. The saying If you dont use it,
you lose it is generally related to these processes.
The brain also
has a unique characteristic that supports learning: neural plasticity.
The concept of plasticity refers to the brains capacity to change due to experience.
Experience drives physical changes in the brain. Dendrites (and neural networks) increase in
size and number in response to learned skills, experience and information (Willis, 2006).
28
According to Greenough and his colleagues, the development of the brain relies on two
different types of plasticity: experience-expectant and experience-dependant
synaptogenesis (formation
of synapses). The former describes the processes that are
common to all the members of a species, those expected processes such as early sensory
system development of vision or speech. The latter applies to individual members and it is
involved in the storage of information that is unique to each individual. New synaptic
29
connections are generated in response to the occurrence of a to-be-remembered event, of

which timing and character vary from one individual to another (Greenough et al., 1987).
From this perspective,
learning a foreign language appears to be an experience-dependant
process.
As Goswami (2004) suggests, learning comprises changes in connectivity, either via
changes in the potentiation at the synapse or via strengthening or pruning of connections.
30
Successful teaching thus directly affects brain function, by changing the connectivity. It is not
the same to teach one way or another. It is our role as teachers to make of the

teaching/learningFulbright
process the
most effective for our children.
31
Learning Is About
Survival
Fulbright
What is the brains main concern? The brain has evolved to better protect the wellbeing of its own owner and species to survive. Since survival is its main concern, information
that is essential for survival will be worthwhile learning. Then, protection, imminent
32
satisfaction and pleasure become part of its repertoire worthwhile of effort and attention. The
brain selectively focuses attention on that information it recognizes with survival or interest
value. Many times,
the brain is compared to a sieve, because most of the information is
discarded and filtered, and only that that is relevant stays in.
33
Learning Requires
Activating
Prior Knowledge
Fulbright
Distinguished
To predict the likelihood that effort and attention will result in successful outcomes, the
brain uses knowledge from previous experiences. The brain is a pattern seeking organ, and
as such, it is most attuned to information that it recognizes as patterns or categories it has
34
already formed (Willis, 2007, 2008). As a result, activating prior knowledge is important: The
brain assigns meaning to incoming stimuli depending on whether it can match an existing
pattern or activateFulbright
an existing
neural network. When information matches and adds to an
existing network, there is a better chance of storing it. The links that can be made between
new information and existing knowledge are useful to make the incoming stimulus meaningful
35
and for learning to take place. Otherwise, mismatch might lead to rejection, misinterpretation
or ignorance of the incoming stimuli.
Now, both Fulbright
of the main
processes involved in the learning/teaching scenario that Willis
considers have become clear. These are neuroplasticity and patterning. Neuroplasticity is
the possibility of changing, revising, extending neural networks. Patterning refers to the
meaningful organization, coding and categorization of the information in the brain.
36
Attention Is KeyFulbright
to Learning
Attention is selective. Our brains use it to constantly survey our internal and external
environments to determine what is important and what is not. The Reticular Activating System
(RAS) in the brainstem is involved in this process of selecting relevant stimuli. Among its
37
functions, this system is a filter for the thousands of stimuli that bombard the sensory
receptors every second, allowing focus only on what is important and relevant for survival. It
selectively alerts Fulbright
the brain to
changes in the environment that may indicate danger or signal
opportunities. Reticular means netlike, which makes this system something like a chemical
net that opens and closes to let information coming in through our senses flow in or be kept
out of the brain. All sensorimotor information flows through our brainstem (Sylwester, 1995).
38
Learning Is About Emotions
The message from neuroscience is clear:
No longer can we think of learning as separate from emotion
39
Immordino-Yang and Faeth (Sousa, 2010)

Attention is closely linked to emotions. Why is this so? Emotions provide a quick,
general assessment of the situation that draws on powerful internal needs and values.
Sylwester (1995) defines this relationship by saying that emotion drives attention and
attention drives learning and memory. Also, Immordino and Faeth (2010) have compared the
40
role of emotion to a rudder that guides a ship: Though its influence might not be visible, it
provides a force that stabilizes the direction of a learners decisions and behaviors.
Most incoming
sensory information is sent first to the thalamus, which then relays it to
the sensory and frontal lobes for detailed analysis and response. But, when emotionally
charged information comes in, the thalamus takes it on a more rapid pathway to the amygdala
41
in the limbic system. Based on the limited information that it has received, the amygdala
uses primitive, general categorizations to activate an immediate response.
The amygdala
is loaded with peptides, which are neurotransmitters that modulate
emotional states and energy and it is highly connected to most brain areas. There are far
more neural fibers that project from this emotional center to the rational cortical centers than
the reverse. So, this makes the amygdala the main regulator of emotions in charge of
42
interpreting and evaluating the emotional value and relevance of the incoming sensory data
here and now. Goswami (2004) clearly explains that assessing the value of information being
received is an important
function of the emotional brain. At this point, the information can be
sent to the pre frontal cortex -if it is considered pleasurable- or it can be diverted away from it
by blocking its entry -if it is considered stressful. This is a reaction, not a decision made.
43
How does this happen? It is related to the metabolic activity in the amygdala. When it
senses fear, threat or anxiety, the amygdala becomes strongly activated and it takes up the
available oxygen Fulbright
and glucose
in the brain, and thus, puts the brain into survival mode and
blocks the path to the prefrontal cortex. As Goswami (2004) suggests, When the amygdala is
strongly activated, it interrupts action and thought, and triggers rapidly bodily responses
critical for survival. This is an automatic interruption mechanism. On the other hand, when
44
it senses comfort, joy and challenge, the amygdala is stimulated but with lower metabolic
activity -which enables and facilitates the neuronal transportation of information. Whether
positive or negative,
the imprint left in the amygdala is strong and this is relevant in
subsequent experiences. This is very much related to Stephen Krashens affective filter
hypothesis in his theory of Second Language Acquisition, where he described that successful
learning was reduced when the learners experienced stress or anxiety.
45
The Environment
Affects Distinguished
Learning
Fulbright
One longstanding debate about how development takes place is that presented by the
question of nature vs. nurture. How genetic and environmental influences work together has
always brought about continuous questioning. It is currently believed that both are
46
dynamically related to shape each individual. If brain development depends on both genetic
programs and environmental experiences, it is not surprising that there has been growing
interest in what this
environment should be like to foster effective learning. This is clearly
related to the previous explanation of the role of the limbic system. Efficient learning, as
Goswami (2004) explains, does not take place when the learner is experiencing fear or
stress. A positive, non-threatening environment is fundamental for learning to occur. Hart
47
(1983) describes this as the phenomenon of downshifting, whereby the individual detects
threat and the fast acting brain resources take over, not allowing for the higher thinking part of
the brain to work.Fulbright Distinguished Awards in Teaching Program
Two major ideas were presented at the beginning of the paper concerning the value of
an incoming stimuli: first its survival value and then its emotional or interest value. This last
48
one is related to the brains desire to seek pleasurable states within a positive environment, in
which the neurotransmitter dopamine is a key element.
DopamineFulbright
is one of Distinguished
many neurotransmitters
that carry information across synapses
between connecting neurons. The brains dopamine system is involved in risk-taking behavior
and reward. Dopamine is released in greater amounts in response to positive experiences
and acknowledgement of achievement. The greatest benefit of this system is that it
49
increases the efficiency of the synapses controlling attention, decisions and executive
functions. Another neurotransmitter is released when pleasure or reward is merely expected:
acetylcholine. TheFulbright
added benefit
is that this neurotransmitter directly stimulates the
hippocampus, the modulating center for consolidating new learning to related stored memory
(Willis, 2007).
50
Learning Is About Memory

Memory isFulbright
essential Distinguished
to survival: Without
the ability to learn, store and recall how to
respond to physical needs and changes in the environment, the individual is at risk. According
to Ratey (2001), memory is stable as it enables the individual to learn from experience and it
has to be flexible enough to adapt to the changing environments. He describes it as the
51
centripetal force that pulls together learning, understanding and consciousness. In the past, it
was thought that one memory was held by one neuron and that each section of the brain
performed a single
operation in isolation. This is not the case. Now, neuroscientists know that
there is not one single center for memory and that it is hard to separate the memory from the
act of retrieving it.
52
Learning is about turning sensory input into memory. Bits and pieces are stored in
different networks of neurons in the brain. Each time an individual encounters an object, for
instance, it puts together
the pieces to recognize it. If the individual can see, touch, or even
hear, smell or taste the object, more sensory pathways are activated in the recognition and or
retrieval process. The hippocampus, a structure next to the amygdala, appears to be the
master regulator. It is here that the incoming sensory data is linked to previous knowledge,
53
classified and stored accordingly in appropriate memory networks elsewhere in our brain. The
hippocampus is important in the processes of making new relations and of transforming short
term memory to long
term memory.
Many scientists agree that memory is a multifaceted, complex process that involve the
activation of various neural networks in different areas of the brain (Wolfe, 2001). In fact,
memory is not a single function but a collection of mental abilities that depend on different
54
systems within the brain. Figure 2 illustrates the Three Box Model of Three Interacting
Memory Systems provides a simple description of the memory system.
55
56
Figure 2. Three Box Model. From www.aboutmind.com
Sensory memory refers to the incoming sensory information through the sensory
receptors and holding it for a fraction of a second until a decision is made as to what to
do about it, whether it is important enough to attend to. Each sense provides an
individual with a part of the world sound, sight, taste, smell, touch and so then
57
memories can be recalled from any number of cues and the same memory can be
retrieved by more than one type cue.
Short-term memory refers to the ability to hold information in your minds eye. It
retains information for seconds if it is not repeated. The capacity for storage and
processing of short term memory is limited.
58
Working memory is a more recent extension of the concept of short-term memory. It

allows individuals to integrate perceptual information and consciously manipulate it. It
is part of the executive functions of the Pre Frontal Cortex.

Long-term memory consists of information stored for an indefinite period. The
capacity for storage is considered to be extremely large. It is created when short term
memory is strengthened through meaningful association with existing patters and prior
knowledge. What individuals record, use and recall is a mixture of different types of
59
memory, drawing on different systems. The following chart shows one way of dividing
long term memory:
60
61
Figure 3. Long Term Memory. From www.aboutmind.com
The first distinction is between explicit (declarative) and implicit (nonFulbright Distinguished Awards in Teaching Program
declarative)
memory. Explicit memory encodes factual information and it is directly
accessible to our conscious awareness. It is flexible, rapidly retrieved and occasionally

unreliable. Implicit memory, on the other hand, is responsible for the skills, the
processes. Once learnt, it does not have to be consciously retrieved. Implicit memory
62
is inflexible, slow but extremely reliable. Most of everyday learning and functioning
results from turning explicit memories to implicit ones. (Ratey, 2001)
There
are two types of explicit memory: Episodic and Semantic memory.
Episodic memory is related to the capacity to place facts and events in time and
place, when and where the information was acquired. Semantic memory is the
retention of facts, events, objects, words, symbols and meanings, the impersonal basis
63
of ones repertoire of knowledge. These facts are normally independent of a particular

time or place. How are these formed? Each new explicit memory goes through four
sequential Fulbright
processes:
encoding, consolidation, storage and retrieval.
Implicit memory involves: procedural memory, conditioned reflex, emotional

conditioning and priming effect. Procedural memory refers to knowing how to do
something. Practice is fundamental. It is the basis for our mental and physical skills.
64
Also, implicit memory is where many of our conditioned reflexes and conditioned
emotional responses are stored. Conditioned reflex is the process of acquiring the
kind of information
that the brain sends to the body for an automatic response. The
information and response are generally the same every time this form of memory is
triggered. Emotional conditioning is the memory system that links perceptual
information to an emotional response. Finally, priming effect is related to increased
65
sensitivity to a stimulus due to prior experiences. Priming is the non-declarative

memory function that improves the brains ability to detect, identify, or respond to a

stimulus that
it has processed recently.
66
Learning Is About Rehearsal

Practice
doesnt make
perfect
it makes
permanent
Fulbright
Distinguished
Awards
in Teaching
Program
Madeline Hunter (Willis, 2007)
Recall one of the major ideas about learning and memory identified previously that
Neurons that fire together, wire together. This happens when the networks are first created.
67
To strengthen this wiring and make it more efficient and even more accessible, a memory
circuit needs to be repeatedly stimulated or activated. Practice has a main role in the
learning process.Fulbright
It is through
practice, rehearsal, repetition that information can become part
of our working memory and then held as long term memory. Finally, and ideally, the process
might become automatic.
68

69
When a
student
The more
participates in
times the
a certain
When the
action is
The brain
activity, a
action is
repeated or
becomes
certain
repeated,
recalled,
more efficient
number of
these same
more
in
its ability to
neurons are
neurons
dendrites
retrieve that
activated.
respond
sprout to
memory.
again.
make
connections.
Figure 4. Practice strengthens connections.
A report published by Nature (Draganski, Gaser, Bush, & Schuierer, 2004), explains
how the brain appears
to change with practice. In the study, a group of subjects trained to
juggle over a period of three months showed increased grey matter in specific brain areas.
After some time without practicing, the subjects were scanned again and a decrease in these
connections was evident. The structural change evinced shows the importance of rehearsal
70
and practice as part of the learning process. It is also an example of the process of pruning
and the saying If you dont use it, you lose it described before in the paper.
When the brain
perceives the same information repeatedly through different senses,
this makes the encoding of this information more efficient. Next time, it will be easier to recall
this information. Because each of the senses has a separate storage area in the brain,
71
multisensory input results in duplicated storage and can be retrieved by a variety of stimuli.
So then, one same memory can be retrieved by more than one type cue.
Another important
aspect of practice is the type of involvement necessary in such
practice for meaningful learning to occur. Children, just as adults, learn by doing, playing,
becoming active participants in the rehearsal process. A simple and interesting example is
presented by Willis (2007) in which she asks who learns more about a route, the driver or the
72
passenger. The driver uses the information of the route, whereas the passenger sits passively
without learning much about the road because in the end, the information is not that useful for
him. Who should Fulbright
be the active
driver in the learning process?
Learning Is About Social Interaction
73
Humans are social beings and the brain a social organ that develops and prospers
when interacting with others. Throughout life, an individuals brain changes and is shaped in
response to its engagement
with others. Therefore, learning is deeply influenced by the social
relationships within which an individual is immersed. As humans, individuals can imitate

others, understand them and learn how to interact with each other. Vygotsky highlights the
importance of social interaction and considers social context to have a profound influence on
74
how and what we think. Children learn mental processes and construct meaning through
sharing, interacting with others (Bodrova & Leong). Also, Faeth and Immordino-Yang (2010)
consider the importance
of building academic knowledge which involves integrating emotion
and cognition in social context. Some aspects of social behavior are learnt and some others
are determined by genes, here again comes in the nature and nurture debate. Social behavior
is dynamically shaped; the design of teaching/learning process cannot disregard this aspect.
75
Learning Is About Creativity
Howard-Jones explains that There is no single part of our brain responsible for our
creativity. Creative thinking is a complex thought process that calls upon many different
cognitive functions and involves many different regions distributed around the brain.
76
Some studies have shown that when compared to conventional thinking tasks, those involving
creative thinking appear to engage more complex neural networks. Abilities such as
working memory Fulbright
and sustained
attention are those associated with creativity. Moreover, it is
noted that activities associated with creative thinking produce differentiated patterns of activity
across multiple regions in our brains.
77
In the book Mind, Brain and Education: Neuroscience Implications for the Classroom,
Hardiman (2010) presents a chapter on the Creative Artistic Brain where she discusses the
need to make ourFulbright
classroom
places where creativity, innovation, critical thinking and problem-
solving take place. She argues that despite the rapidly changing society, education has
changed little in response to this reality. Probably, in order to survive this new world a
knowledge-based and information-driven era, our brains need to develop creative thinking
78
abilities and be trained in using them. In 2008, the Dana Foundation Arts and Cognition
Consortium released a series of articles that found a tight correlation between exposure to the
Arts and improved
skills in cognition and attention. Artistic expression and interpretation
correlate with brain processing associated with creativity, long term memory, concept
construction, and the neural networks that are used when the brain processes information
using the highest form of cognition.
79
Scholars definitions of creativity are varied. Robinson (2001), for example, defines it as
imaginative processes that produce outcomes that are original and have value. This
involves doing something,
going beyond imaginative thought, being original and coming up
with something valuable. A common denominator of the definitions of creativity is that it can
and should be taught and promoted. Yet, it is still considered outside the cognitive box and
80
therefore, outside the curriculum. Sawyer (2006), in his article Educating for Innovation
clearly concludes that one of the key missions of schools is to educate for creativity.
Tools of the Mind
81
Tools of the Mind (ToM) is an evidence-based curriculum developed by educational

psychologists Elena Bedrova and Deborah Leong based on the theories of the Russian
in Teaching Program
psychologists LevFulbright
VygotskyDistinguished
and AlexanderAwards
Luria. One
of the main premises considered is that
social and cognitive development is intimately integrated. The curriculum has two main
goals that are viewed as inseparable: (1) to enable teachers to provide young children with
the mental tools necessary for learning; and, (2) the development of specific academic skills
82
such as symbolic thought, literacy, and an understanding of math. These mental tools
essential for learning are executive functions (EF). In ToM, specific training and techniques
for supporting theFulbright
development
of EFs are integrated into almost all classroom activities.
Indeed, play is viewed as the leading activity for developing these skills.
What Are Executive Functions (EFs)?
83
In an interview with Krista Tippett in her program called Learning, Doing and Being: A
New Science of Education,
Adele Diamond defines EFs as what you need when your initial
tendencies would take you in the wrong directions, when things change or are new (and you
have to adapt). Then, she moves on to explain three core abilities -inhibitory control, working
memory and cognitive flexibility- which are summarized in the following chart:
84
INHIBITORY CONTROL
85
WORKING MEMORY
COGNITIVE FLEXIBILITY
It is the ability to hold

It is the ability to
It is the ability to
information
your
adjust to changed
Awards ininTeaching
Program
ignore Fulbright
distractionDistinguished
and
mind's eye and
demands or priorities.
stay focused and to
mentally work with or
resist making one
manipulate that
response and instead
information.
make another that is
It involves being able
It allows for
most appropiate or
to switch one's
understanding
needed.
perspective and think
anything that unfolds
"outside the box".
over time (relating
It makes selective,
present to future or
focused and sustained
past) remembering
attention possible.
It is key for problemplans and considering
solving and important
alternatives.
in the creative process
It is an important
as well.
Wait, think and have
characteristic of
more thoughtful
creativity. Being
reactions.
creative involves
holding ideas in mind,
disassembling them
and putting them
together in new ways.
In an article from Science (Diamond, Barnett, Thomas, & Munro, 2007) the results of a
study of ToM are Fulbright
presented.Distinguished
In the study, the
outcomes in different groups of students some
being instructed using ToM and others using a conventional Balanced Literacy (BL) program
were compared. The study was carried out with children with poor EFs and moved them to a
more optimal state. Both models covered the same academic content in the classes, but only
86
those using the ToM model received more explicit instruction on EFs. Some EF promoting
activities include dramatic play, self-regulatory private speech, play planning, a version of
freeze game and Fulbright
aids to facilitate
memory and attention. After one year of instruction and
perceiving the progress in this latter group, some of teachers decided to halt the experience
and turn towards ToM instruction as well.
87
As part of the study, students were assessed on their EFs using Dots Tasks and
Flanker Tasks as well as other academic measures by the NIEER (National Institute for Early
Education Research).
The study has promising conclusions. Children in ToM classrooms
showed increased gains in cognitive, language and social development. The essential nature
of play in the first years of instruction is highly emphasized as well as how much dramatic play
aids the development of EFs. Also, exercising EFs on a daily basis appears to enhance their
88
development and the possibility to transfer these to new activities. The main weakness of the
study is the lack of measures of EFs before and after as well as academic measures in the BL
groups.
Stories as an Effective Teaching Tool
89
Stories engage, illustrate, inspire, educate Stories have always been a unique tool
for me to teach English as a Foreign Language to young children. I consider it is very
important that children
are exposed to authentic oral language input first, just as they have
acquired their first language. Stories are engaging and meaningful for children, they are the
perfect meaningful context in which language can be taught as a whole and not as isolated
items of vocabulary. By using stories, children develop at an early age both vocabulary and
90
comprehension skills that will be useful for later development of literacy in the foreign
language. Little by little, and in the course of interactions with the story and other activities,
children start developing
their oral expression.
It is well known that language development occurs with actual use. Children learn and
create their knowledge of the foreign language by interacting with it, manipulating it and by
engaging in meaningful use. Stories are such a powerful tool to teach a foreign language. If
91
learning a language is an interactive process, children need many opportunities to interact in

a meaningful context and play with language while developing vocabulary and structures.
This is very important
in the early exposure to the foreign language and stories provide these
opportunities.
Using storybooks successfully in the classroom needs careful planning. Sharing a
story, either by reading a book or through storytelling, is just the first step in the process of the
92
type of interaction and experience with the foreign language I create in the classroom. The
activities that follow this first encounter with the story line are the ones to build on and ensure
understanding, engagement
and ownership of the story and the language used. Stories help
children in the development of their receptive language in an entertaining, meaningful context

that naturally invites them to repeat many of the predictable words and phrases as they
gradually take ownership of and add to their receptive and productive language.
93
Finally, it is highly relevant consider the importance of the selection of the stories. A
good story for the first years of EFL instruction should contain a conflict that is solved,
predictable, repetitive
patterns that reinforce vocabulary and structures, relevant themes for
young learners, amicable characters and nice pictures.
Tiny Toy Tales
94
a simple effective literacy strategy for involving students in storytelling

Sean Layne (2005)
This is the way artist Sean Layne describes his Tiny Toy Tales in his seminar Tiny Toy
Tales: Make, Take and Tell. This seminar is part of CETA, Changing Education Through the
95
Arts Professional Learning Opportunities for Teachers, an education program organized by

the education department of the John F. Kennedy Center for the Performing Arts. The
program has grown
over the last few years and includes several schools as partners
throughout school districts in the Washington DC metropolitan area. One of the recent
achievements of the program has been to reestablish a clear definition for Arts Integration,
which is transmitted to teachers throughout the training programs. In an article published by
96
the Kennedy Center, Sean Layne and Lynne B. Silverstein explain this definition, which has
some interesting points to highlight:
97
98
Figure 5. Kennedy Center's CETA definition of Arts Integration

First, a stand-alone
activity cannot be considered Arts Integration, since an approach
permeates a teachers practice. Second, Arts Integration empowers children with their own
learning. The teachers role becomes that of a guide and facilitator but children are the ones
who experience, elaborate and reflect on the subject matter, thus building a deeper
99
understanding. This can be achieved by making sense of what they have learned and the
ability to make this learning visible through an art form, which may involve a variety of
modalities. It is part
of the teachers responsibility to make this a creative process in which
students imagine, examine and experiment to solve a proposed challenge. Finally, this
integration considers the importance of developing interdisciplinary connections through
which students evolve in their understanding of both art and the subject matter being taught.
100
101
The main elements in Tiny Toy Tales are:
102
CONTAINER
Fulbright Distinguished
INVOLVEME
NT
103
TINY
TOY
TALES
PARALINGUIS
TIC
ELEMENTS
PROPS
CONTAINER. Everything the teacher needs to tell the story is inside a container. This
Fulbright
in Teaching
Program
container might
takeDistinguished
different formsAwards
depending
on the story.
Sean Layne describes the
container as a magic holder of small objects that appear as the story is told. I agree
with the magical side of this element. It is a novel way of introducing a story; it
generates curiosity to know what is inside and it helps to magically create a magical
environment -in which learning will certainly occur.
104
PROPS. Different objects are used to tell the story. These are the Tiny Toys that the
Fulbright
Teaching
Program
teacher keeps
in theDistinguished
container and Awards
are key in
elements
needed
for each Tale to be told.
PARALINGUISTIC ELEMENTS. In the telling of the story, paralinguistic elements are

used such as facial expressions, gestures and prosody. These elements not only
amuse the students, help deepen the understanding of the story and aid
105
characterization but also become a main source of retention and future retrieval of the
tale (alongside the props).
INVOLVEMENT. Tiny Toy Tales are unique in that they encourage students to take
part, without losing the pace of the narration. This can take the form of some repetition,
movement, chant, onomatopoeic words, laughing all opportunities that the teacher
should create to foster active involvement.
106
In a site about Whole Child Education the month of October was about Teaching
through the Arts.Fulbright
The ideasDistinguished
in the newsletter,
the blog and the Podcast, coincided with the
ideas presented in this paper. What is more, some of the blog posts were about the
connection between creativity and the brain with guest blogger Judy Willis, the expert on
learning-centered brain research used as a resource for other parts of the paper.
107
Some of the main ideas presented in the site further developed ideas presented in this
project. One of the main tenets of the Whole Child Education is that of ENGAGEMENT.
This is one of theFulbright
main tenets
of the teaching and learning process. Yet sometimes this is the
road less travelled.
108
Fulbright
STUDENTS'
ACTIVE
ROLE
109
EMOTION
AND
LEARNING
Distinguished
Awards
ARE
CONNECTE
D
ARTS
INTEGRATI
ON
PROGRESS
PROMOTED
OUTSIDE THE
COGNITIVE
BOX
in Teaching Program
DIRECT
CHALLENGIN
G
EXPERIENCE
S
PERSONAL
RELEVANCE
AND DEEPER
UNDERSTANDI
NG
Figure 6 Arts Integration. Main Ideas.
When integrating the arts,

Students are engaged, take an active role, experience things directly and
express themselves in creative multiple ways.

Students are challenged to take what they learn and build a deeper
understanding to be able to do something with it.
110
Childrens academic progress is promoted outside the cognitive box, and thus
considering emotional, social and cognitive changes as one same whole
process.
Emotion and learning are connected with a profound effect on whether and how
children learn. Personal relevance and pleasure are placed as key factors to
111
engage students in their learning process.

Unique opportunities are generated for creativity and higher-process thinking.
Making Connections
This part of
the paper
brings together
the
already explained.
Fulbright
Distinguished
Awards
inconcepts
Teaching Program
Connections between the theoretical background on MBE presented and
characteristics of stories as an effective tool are discussed; thus getting a better
understanding of how to use the knowledge of the brain to promote meaningful
learning.
112
As a result of reading and analysis, this following phrase was built up to describe
stories as an instructional tool within the context of Mind, Brain and Education Science. This
phrase is not merely
a list of characteristics; one idea builds and adds on the following one:
Stories are a meaningful context
where emotions are let in
113
building a unique learning environment

that promotes Awards
opportunities
for involvement
in Teaching
Program
and social interaction
thus fostering creativity.
114
Stories are a meaningful context

The brain selectively focuses attention on information that it recognizes of interest

value. A story might not help an individual survive (though sometimes it might!) but it
certainly has this other component of being something interesting and meaningful to children.
115
As regards foreign language development, stories provide a context in which language is

authentically presented and practiced not as discrete vocabulary items thus developing
comprehension skills,
basis for literacy development.
All teachers want students to pay attention, to select as relevant what is brought to
class for them to learn. But sometimes students have no choice: If their brain does not find
116
the activity a relevant or challenging stimulus, it keeps searching for more productive input.
Although some students may make an effort to focus their attention, this is not always the
case, especially when
teaching young children. This is more of an automatic mechanism or
reaction in the brain. So, this becomes a challenge every day we go into class. In general,
with stories and young children, this reaction is a positive one: Stories grab childrens
attention.
117
The choice of the appropriate story is a key element to make it a meaningful tool in the
EFL class. Teachers should choose stories that are relevant to students as well as age
appropriate and aFulbright
good match
for their level of comprehension. Indeed, it must be a story that
the teacher loves. Other characteristics that are important to consider when choosing a story
to teach EFL to children include repetitive actions and structures, appealing characters and
visual images, and a storyline that is meaningful (something happens!) and simple (not
118
complex). Finally, stories can be easily adapted to cater the needs of specific classes.
Teachers should not hesitate to expand the story by including more characters, events or
dialogues or omitFulbright
unnecessary
ones. In short, the choice of the story alongside potential
adaptations is very important to make it one with interest value for the kids.
Stories are a meaningful context where emotions are let in
119
One can no longer deny the role emotions play on learning. Learners emotions not
only guide their attention
and learning but also become implicitly attached to the experience.
It has been suggested that when the amygdala senses pleasure and positive emotions, it
conduces information through the limbic system to the pre frontal cortex, home for cognitive
and executive functions. This is again a reaction, not something that the brain consciously
120
decides. So, joy is the type of emotion that is necessary for learning to occur; even more in
the first years of instruction of EFL when we want children to attach a positive imprint to
learning a foreignFulbright
language.Distinguished Awards in Teaching Program
Bringing positive emotions into the classroom makes a difference in students learning.
When an activity is associated with a positive emotional experience, students become
121
engaged and their brains learn to seek out those activities. Whenever this joyful activity is
repeated, the same emotion is triggered. This is what happens with stories: Children love
them and never get
tired of sharing them! If teachers plan to include something humorous, a
little laughter adds a lot to this positive environment. This can come from some characters
funny action or voices used to represent them and distinguish one another. Learners
experiences with the foreign language should have this joyful imprint. Stories are a powerful
122
way to store experiences in the brain. When a story is engaging, relevant and appropriate,
this is likely to occur. Children can feel identified with the characters, with their actions or with
their feelings: ThisFulbright
experience
is very different to giving children isolated activities or
worksheets. Teachers priority should be to make of the learning experiences joyful ones.
123
Stories are meaningful contexts where emotions are let in building a unique learning
environment
Brains are flexible, they change according to experiences. Nature and nurture
dynamically shape the individual. Learning experiences in a positive non-threatening
environment are more effectively recorded and recalled since these allow for the higher
124
thinking part of the brain, the pre frontal cortex, to work. If learning a foreign language
appears to be an experience-dependant process, the new synaptic connections are
generated in response
to the experiences the individual has with it.
It is not the same to do it one way or another, to create a positive classroom
environment, to generate different engaging activities or not to do it. Stories provide multiple
125
ways in which teachers can make of the learning experience a positive one. When using
stories in the class as a tool to teach language, students are concentrated on the story itself,
something that is Fulbright
considered
a pleasurable activity, rather than the specific language items
being taught. This certainly keeps their anxiety low and positive emotions high. Humor has
already been mentioned. Also, childrens brain is curious and will attend to changes in the
environment. Stories are great in sparkling curiosity. The story itself will provide these
126
opportunities. Yet, if teachers plan it purposefully, the effect might be different by making
these instances more explicit. For example, teachers should decide on the use of pauses,
prosody, or other Fulbright
paralinguistic
elements or even some parts of the book to cover, or other
parts where students can make guesses. All these elements make students attention span
something not to worry so much about.
127
Including some kind of novelty is highly recommended. The brain will pay attention if
something new, different or unexpected is brought into the classroom. Some stories have this
characteristic, which
makes them really engaging. Props used in telling a story provide a
unique opportunity to exploit novelty and bringing unexpected items into the class setting.
Non-specific props can be useful to train symbolic representation: Childrens ability to imagine
that objects can be many things.
128
Stories are meaningful contexts where emotions are let in; building a unique learning
environment that
promotes opportunities for involvement
The brain is a pattern seeking organ, most attuned to information that it recognizes as
patterns or categories it has already formed. Meaning is assigned to the incoming stimuli
129
depending on whether it can match an existing pattern or activate an existing neural network.
When information matches and adds to an existing network, there is a better chance of
paying attention to
it and getting involved. The links that can be made between new
information and existing knowledge are useful to make the incoming stimulus meaningful and
for learning to take place. Otherwise, mismatch might lead to rejection, misinterpretation or
ignorance of the incoming stimuli.
130
The structure of stories is a pattern children are acquainted with: There are
characters, a problem,
and a solution. Children can easily recognize this structure in which
they are being exposed to the foreign language. Other familiar patterns will also be activated
depending on the story and how the teacher decides to present it, whether it is by reading it or
through storytelling. The visual images of the characters, their voices and actions, the place
131
where it takes place, all these make sense to children because they can relate it to previous
knowledge, something that they already know, something they have already stored.
Whatever is new Fulbright
will be added
to those already existing patterns. This is why, when the story
is too hard, not appropriate, not related to students interest or previous knowledge, the
likelihood that they attend and learn is lower.
132
The story format allows for authentic predictions on the story, the characters, the
problem or different solutions. As the story unfolds, these predictions are checked and
confirmed. Teachers
should plan when and how to make these predictions explicit to make
sure this adds to their meaningful experience.
133
Practice has a main role in the learning process. It is through practice, rehearsal,
repetition that information can become part of our working memory and then held as long
term memory. Finally,
and ideally, the process might become automatic. Learning consists
of reinforcing the connections between neurons.
134
Children learn by doing, playing, becoming active participants in the process.

Working with a story as a tool to teach language involves using different activities after
reading the story Fulbright
that little by
little might lead children to build confidence on the language
used, experience the story and make it their own.

When students are provided with activities to practice the story, to practice using the
language of the story, they stimulate and strengthen the circuits that support such learning
135
experiences. First, they need to make an effort to remember the phrases in the story. Little by
little, with the support of activities and the teacher as mediator, phrases from the story
become more andFulbright
more familiar.
Here repetition with variation becomes an important
aspect to take into account. Teachers should use different ways to practice the story, its
characters or events by using sequencing games, flashcards, memory games, charades,
freeze, preparing puppets, or masks. These activities should ideally take different forms,
136
considering various learning styles. Because each of the senses has a separate storage area
in the brain, multisensory input results in duplicated storage and can be retrieved by a variety
of stimuli. When aFulbright
new memory,
in this case new language, is linked to a sensation, a
movement or an emotion, it travels into the memory storage along more than one pathway,
leading to greater memory retention and recall. In this way, students can feel comfortable
practicing in their preferred style as well as challenged to use some other styles. So, the
137
teacher might provide an activity that involves movement, another involving flashcards or
visual input and finally one that focuses on sounds or oral expression. These activities give
students some sense
and need to practice the story and the language involved in it. Then,
students can easily recall the phrases. Finally, they can use this language more creatively or
apply it in other situations. All in all, it is throughout this process that students become
owners of the story and their understanding of meaning of the foreign language grows.
138
Another important consequence of providing several times to practice and rehearse

any new language form, is allowing the neural network to fire correctly more than once. The

student, therefore,
becomes more confident and motivated to keep on practicing and learning.
139
Stories are meaningful contexts where emotions are let in, building a unique
learning environment that promotes opportunities for involvement and social
interaction
Social and cognitive development are intimately related. Throughout life, an
individuals brain changes and is shaped in response to its experiences and engagement with
140
others. Therefore, learning is deeply influenced by the social relationships within which an
individual is immersed. As humans, individuals can imitate others, understand them and learn
how to interact with
each other. Building academic knowledge involves integrating emotion
and cognition in social context. If social behavior is dynamically shaped; the design of
teaching/learning process cannot disregard this aspect.
141
When reading stories or telling them as a tool to teach, there is authentic social
interaction between the teacher and students, and interaction between students should be
promoted as well.Fulbright
In storytelling
or reading aloud, students can take part and become active
participants through echoing phrases, movements and predicting. While sharing the story,
instances of interaction among students could be planned for the predictions by using Think-
142
Pair-Share technique. Then, when practicing or playing with the story itself, students are in
constant interaction, learning how to take turns, to listen to others and to share.
143
Stories are a meaningful context where emotions are let in building a unique learning
environment that promotes opportunities for involvement and for social interaction
thus fostering creativity.
When compared to traditional tasks, those involving creative thinking appear to
engage more complex neural networks. Abilities such as working memory and sustained
144
attention are associated with creativity. Artistic expression also shows concept construction
and innovation.
If teachers think about a creative production as a final product, this challenging activity
makes the practice worthwhile. Practice and rehearsal have an added meaning: Only through
these, students will be able to make the story their own and move onto their more creative
145
production. The language knowledge acquired is paired with imagination, to come up with
something original, meaningful and valuable. Bringing into the classroom more time to do
something with what
is being learnt not only encourages children to become more actively
engaged, but also helps them build deeper understanding and gives them a sense of
achievement.
146
STORY KIT: Anansi and the Moss-Covered Rock by Eric A. Kimmel

STORYLINE
TEACHERS
INTERVENTION
Fulbright Distinguished Awards in Teaching
Program
INTRODUCTION
This is a story about Anansi the SPIDER.
One day, Anansi was walking, walking, walking
through the forest.
ANANSI. Aha! Whats this?
147
. Say hi to Anansi with Ss

. Always use the same
movement for the spider
How Interesting! Isnt this a

strange moss-covered rock?
walking. Ss mime
. Surprised look
KPOM! KPOM! Anansi
fell Distinguished
down.
Fulbright
. Make falling down funny
An hour later, she woke up.
. Pause after that
Her head was spinning, spinning, spinning.
Anansi looked at the rock.
She started thinking, thinking, thinking about
movement for waking up and
the rock.
the head spinning. Ss mime.
. Make a gesture for thinking.
ANANSI. How Interesting! Isnt this a strange moss-
148
Ss mime
. Surprised look.
KPOM! KPOM! Anansi fell down again.
. Ss echo
An hour later, she
woke up.
. Make falling
down funny
Fulbright
Distinguished Awards in Teaching
Program
. Pause after that
Anansi looked at the rock.
She started thinking, thinking, thinking about
the rock.
. Asks Ss How does Anansi feel?
ANANSI. This is a magic rock!! I have an idea!!
SAD? Say the phrase in sad
covered rock?
149
mood. ANGRY? HAPPY? JOYFUL?

Ss echo.
EVENT #1
Anansi was walking, walking,

walking.
She came to the RED house.
ANANSI. LION lives here!!

He has ONE delicious YAM.
150
. Take out of the bag the RED

house. Ask Ss Who lives here?
Open one side of the door. Ss
predict.
. T makes reference to the food.
I like YAMS! Yummy, yummy

Hi! Its very hot today! Lets go for a walk!
LION. That sounds great!
Look! What has he got?

. Make gesture, rub your
tummy Program
So, the LION and Anansi went walking, walking,

walking.
ANANSI. LION, do you see what I see?

LION. Oh, Yes! Isnt this a strange moss-covered rock?
KPOM! KPOM! LION fell down.
151
. Thumbs up!
movement for waking.
And Anansi rushed, rushed, rushed and took

. Surprised look.
ONE YAM to HIS house.
An hour later, LION woke up.
. Pause after that
His head was spinning,
spinning,
spinning.
Fulbright
Distinguished
He went to his house but there were no more
. Make gesture for rushing.
YAMS.
. Place ONE YAM in Anansis
He was so saaaaaad.
house.
But Anansi was very happy.
She couldnt wait to play the trick again.
152
. Make a sad face. Ss mime.

. Make a happy face, Ss mine.
EVENT #2
Anansi was walking, walking, walking.

She came to the BLUE house.
ANANSI. ELEPHANT lives here!!
153
. Take out of the bag the BLUE

predict.
He has TWO delicious BANANAS.

I like BANANAS!
Hi! Its very hot today!
Lets go for a walk!Fulbright Distinguished Awards in Teaching
tummy Program
ELEPHANT. That sounds great!
. Thumbs up!
ANANSI. ELEPHANT, do you see what I see?
. Surprised look.
So, the ELEPHANT and Anansi

went walking, walking,
walking.
154
ELEPHANT. Oh, Yes! Isnt this a strange moss-covered

rock?

. Pause after that
KPOM! KPOM! ELEPHANT

fell down.
And Anansi rushed, rushed, rushed and took
TWO BANANAS.
. Place the TWO BANANAS in
An hour later, ELEPHANT woke up.
Anansis house.
His head was spinning, spinning, spinning.
BANANAS.
He was so saaaaaad.
155

EVENT #3
She came to the YELLOW house.
ANANSI. The RHINO lives here!!

He has THREE delicious WATERMELONS.
I like WATERMELONS!
156
. Take out of the bag the

YELLOW house. Ask Ss Who
lives here? Open one side of
the door. Ss predict.

RHINO. That sounds great!

tummy
So, the RHINO and

AnansiDistinguished
went walking,
Fulbright
walking, walking.
. Thumbs up!
ANANSI. RHINO, do you see what I see?

RHINO. Oh, Yes! Isnt this a strange moss-covered
rock?
157

. Surprised look.
KPOM! KPOM! RHINO fell down.

And Anansi rushed, rushed,
. Pause after
that
rushed and tookFulbright
the THREE
Distinguished Awards in Teaching
Program
WATERMELONS.
An hour later, RHINO woke
. Place the THREE
up.
WATERMELONS in Anansis
His head was spinning,
house.
spinning, spinning.
158
WATERMELONS.
He was so saaaaaad.

But Anansi was very

happy.
Fulbright
. Make a happy face. Ss mine.
EVENT #4

She came to the GREEN house.
159
. Take out of the bag the GREEN

ANANSI. HIPPO lives here!!

predict.
He has FOUR delicious
PINEAPPLES.
I like PINEAPPLES!
Program
. Make gesture,
rub your
Hi! Its very hot today! Lets go
tummy
for a walk!
HIPPO. That sounds great!
. Thumbs up!
So, the HIPPO and Anansi went

walking, walking, walking.
160

ANANSI. HIPPO, do you see what I see?

HIPPO. Oh, Yes! Isnt this a strange moss-covered rock?
. Surprised look.
KPOM! KPOM! HIPPO

fell Distinguished
down.
Fulbright
Awards in Teaching
Program
. Make falling
down funny
And Anansi rushed, rushed, rushed and took the . Pause after that
FOUR PINEAPPLES.
An hour later, HIPPO woke up.
His head was spinning, spinning, spinning.
. Place the THREE
WATERMELONS in Anansis
PINEAPPLES.
house.
He was so saaaaaad.
161

. Make aProgram
sad face. Ss mime.

EVENT #5
Anansi was walking, walking,

walking.
She came to the PURPLE house.
162

PURPLE house. Ask Ss Who
lives here? Open one side of
the door. Ss predict.

ANANSI. The ZEBRA lives here!!
She has FIVE delicious TOMATOES.
. Make reference to the food.
I like TOMATOES!
Program
Look! What
has she got?
.
Make
gesture,
rub your
ZEBRA. That sounds great!
tummy
. Thumbs up!
So, the ZEBRA and Anansi went walking,
walking, walking.
ANANSI. ZEBRA, do you see what I see?
163
ZEBRA. Oh, Yes! Isnt this a strange moss-covered

rock?
. Surprised look.
KPOM! KPOM! ZEBRA
fell Distinguished
down.
Fulbright
Awards in Teaching
Program
. Make falling
down funny
And Anansi rushed, rushed, rushed and took the . Pause after that
FIVE TOMATOES.
An hour later, ZEBRA woke up.
. Place the TOMATOES in
She went to his house but there were no more
Anansis house.
TOMATOES.
She was so saaaaaad.
164

. Make aProgram
happy face. Ss mine.

EVENT #6

She came to the ORANGE house.
165

ORANGE house.
. Ask Ss Who lives here? Open

ANANSI. GIRAFFE lives here!!
one side of the door. Ss predict.
She has SIX delicious
ORANGES.
Program
. T makes
reference to the food.
I like ORANGES!
Lets go for a walk!
tummy
GIRAFFE. That sounds great!
. Thumbs up!
So, the GIRAFFE and Anansi
went walking, walking,
166
walking.
ANANSI. GIRAFFE, do you see what I see?

. Surprised look.
GIRAFFE. Oh, Yes! Fulbright
Isnt this aDistinguished
strange moss-covered
rock?
. Pause after that
KPOM! KPOM! GIRAFFE fell down.
And Anansi rushed, rushed, rushed and took her . Make gesture for rushing.
SIX ORANGES.
. Place the ORANGES in
An hour later, GIRAFFE woke up.
Anansis house.
167
She went to her house but there were no more

ORANGES.
She was so saaaaaad.

. Make aProgram
sad face. Ss mime.
. Make a happy face, Ss mime.
ENDING
Anansi NEVER realized that one animal was

ALWAYS looking at her.
168
. Ask ss to find the DEER hidden

behind the trees in the forest.

She saw the DEER.
ANANSI. DEER!! He
has SEVEN
delicious COCONUTS.
Fulbright
Distinguished
Awards in Teaching
Program
. T makes
reference to the food.
I like COCONUTS!
Look!
What
has he got?
.
Make
gesture,
rub your
Lets go for a walk!
tummy.
DEER. That sounds great!
So, the DEER and Anansi went walking, walking,

walking.
169
. Thumbs up!

ANANSI. DEER, do you see what I see?
movement for walking.
DEER. NO! I dont see anything.
ANANSI. DEER! Look
here! Do
you see what Awards
I see? in Teaching Program
Fulbright
Distinguished
DEER. NO! I dont see anything.
. Each time louder, Anansi is
ANANSI. DEER! LOOK RIGHT HERE!
getting angry!
Do you see what I see?
You dont want to say it!
. Even louder!
DEER. I see a rock! A moss-covered rock!
ANANSI. No! You dont have to say that!
DEER. What do I have to say?
170
ANANSI. Isnt this a strange moss-covered rock?
KPOM! KPOM! Anasi fell down.

And DEER rushed,
rushed,Distinguished
rushed to call
the in Teaching Program
Fulbright
Awards
animals.
LION took his JAMS.
ELEPHANT took his BANANAS.
. Pause after that
RHINO took his WATERMELONS.
HIPPO took his PINNEAPPLES.
ZEBRA took her TOMATOES.
. All the animals bring their
GIRAFFE took her ORANGES
171
DEER took her COCONUTS. They were soooo

happy!
food back home.
An hour later, Anansi

woke
up.
Fulbright
Distinguished
Awards in Teaching
Program
. Make happy
faces. Ss mime.
She went home and her house was empty: no
more JAMS, no more BANANAS, no more
WATERMELONS, no more PINNEAPPLES, no more
TOMATOES, no more ORGANGES and no more
COCONUTS.
172
Fulbright
Awards in Teaching
Program
This is a guide
forDistinguished
teachers to understand
the reasons
why this story can be
an effective tool to teach EFL to young children, considering notions of Mind Brain
and Education Science that have already been discussed.
173
Anansi and the Moss-Covered Rock provides a meaningful context

In using this
story,Distinguished
children areAwards
exposed
to the language
Fulbright
in Teaching
Program as a whole and not
as isolated items. The teacher can decide which could be the language focus that
she might choose to practice later on, always depending on the level taught.
Possible ideas could include: animals, numbers, food items, expressing likes. This
174
story is easy to adapt to different teaching situations and make it more relevant
for a specific class.
where emotions are let in
175
All teachers will probably love Anansi, and students will love it too! Students
will become emotionally engaged and they will seek out to repeat such
pleasurable experiences by retelling or reading the story again and again. Also,
the characters act and feel just like people so emotions and imagination very
easily become attached to this story experience. The main focus is the story
176
itself, not the language being used, this keeps students anxiety low and allows
them to learn the language without being consciously aware of it.
where emotions are let in, building a unique learning environment
177
Several characteristics of the story, as well as possible activities to do with

it make it suitable for building the positive, non-threatening environment where
learning is likely to occur. The story preview is important in building this type of
environment that will help to make students get involved in the story and the
extension activities. It should capture students attention, get them motivated,
178
and make them feel curious This experience will not have some survival
value, so it should have some interest value for them!
Story Preview
o The special bag is one of the containers from where the story
will unfold. In order to make it even a more special container, it can
179
be accompanied by this chant to foster curiosity. Students might
think: Whats inside the bag today?

Chant:
Oh bag, oh bag!
Shake, shake, shake.
Oh bag, oh bag!
What shall I take?
180
o Teachers should be thoughtful about what to put inside to capture

students attention. It should cause an effect! This time, the dough
is inside the bag. This is probably something novel for students

and it is an example of a non-specific prop: Dough can become
anything!! It models the use of symbolic representation to let
students imagine what it could become.
181
o Teachers should pass the dough around so that students can touch
the rock. They can guess what it is. Encourage predictions:
What can this be in our story? This is important to appeal the

different senses as well as to help students start becoming more
involved and active participants. Its not about just telling, but
182
experiencing the story. Later on, as the story unfolds, this

element will become even more memorable with its magic effect!
o Then, sing the chant again. This time, students in turns will take
out the main character of the story: the spider, her house (the net),
some plants and the sun to build the scenery of the forest on a
183
sunny and hot day. This helps set up the background for the story
experience.

where emotions are let in, building a unique learning environment that
promotes opportunities for involvement and social interaction
184
When the incoming stimulus is a story, it is certainly a meaningful one

that matches some patters, some background knowledge that children already
have. The structure of stories is something that children are acquainted with. In
this case, the storyline is simple but it has a conflict, something happens. It is
not just a mere description. This story even has a moral that can be dealt with
depending on the level taught and the age of the children. Moreover, the story is
185
built up of repetitive structures and events, which make it ideal to teach the
foreign language in the first years of instruction. This is also important to avoid
rejection or ignorance of the incoming stimulus. If it is too hard, students just do

not attend.
Story Experience
186
As regards the presentation of the story, the options include reading the
story, storytelling or a combination of both. For this story kit, the choice has been
to start with storytelling. Teachers interventions have been described alongside

the story. Reading might come later on as part of the follow up activities,
depending on the literacy level of the students and the objectives of the class.
187
Children learn by doing and becoming active participants in the learning

process, thus the story experience should encourage opportunities for
involvement and social interaction. A story experience is not about mere

listeners but active participants. This is explained in detail before, which
highlights the importance of previous planning for intervention, but some
considerations for storytelling include:
188
o The use of different voices for each character and onomatopoeic

phrases can be useful as auditory stimulation as well as
characterization. Children can even help in working out different
voices.
o The use the same gestures throughout (walking, spinning).
Students will be also matching some movement to the language
used.
189
o Interacting with children and asking them to echo some parts,

mime the movements, make simple predictions wherever it is
proposed in the script. Make sure these predictions are
checked.
o Taking the houses one at a time as the story unfolds.
190
One of the greatest things about this story is the magic rock. Children will
find this engaging and fun. Children will be waiting for the moment in the story
when the animals fall.
Playing with the Story
191
All the activities after the storytelling experience should lead students to get
more involved with the story, the characters, the actions and the language used.
All the activities should aim at helping children recall and rehearse the phrases
and events of the story. In this way, the story experience becomes more personal
and memorable. Here, depending on the literacy level of the students and the
objectives, different activities could be done. In all these activities students are
192
interacting with their peers or with the teacher in one way or another, not just
working by themselves. One sequence could be:
1) Sequencing. Houses mixed up! Put the houses in the order of

the story. Then, put the characters next to the correct houses
and the food items a well.
193
2) Matching. Memory game: animal food item (even houses could

be added)
3)
FreezeDistinguished
and Mime Game.
cards with
the main actions of the
Fulbright
AwardsShow
in Teaching
Program
story: walk, spin, fall down, etc. Students look at one card while
the music is on, and when it stops, the card is no longer visible
and students have to mime the action they remember from the
card shown.
194
4) Dramatization. Students decorate their own headbands and

dramatize the story.

where emotions are let in, building a unique learning environment that
promotes opportunities for involvement and social interaction, thus
fostering creativity.
195
Students are encouraged to use the format of the story but to introduce
creative changes. This will depend on the age and level of the students, as well as
the characteristics of the learning environment. It can be done as pair work or

group work or even whole class work. These creative changes might include:
o Changing the characters, the setting, the food items, and even
the magic element or the effect that it causes.
196
o Designing the new props or the way the story is presented: in a

mini book, a comic, a picture story, a dramatization or just a
similar storytelling format. Even using some technology tool for

the final product. Again, this always depends on the
teaching/learning context.
197
Finally, both the original version and the creative production should stay in
the special bag in an accessible place within the classroom where students can
pick it up and play with it. Teachers should remember the importance of
rehearsal and provide opportunities for children to play with the stories
over and over again, leading to new dialogues and ideas to further re-create the
story.
198
Materials provided in the story kit:
199
Special Bag
Distinguished
Dough forFulbright
the moss
covered rock.
Spider, net, pictures of tress and sun for the scenery.
Houses and character puppets.
Food items cards.
Memory game cards: characters and food items. (houses maybe)
Headbands.
Cards with actions.
200
Teacher Training Proposal

New findings and demonstrations should serve as inspiring models for current and
future teachers. Projects, experiences, research and products should definitely help other
colleagues and advanced students to initiate their own way to teaching practice
transformation.
201
This proposal offers the opportunity to rethink about the use of stories as a means to
teach a foreign language to young children. Teachers are introduced to some concepts of
Brian, Mind and Education
some ideas that should be taken into account in the classroom
environment. Also, it offers teachers the opportunity to experience this story kit proposal,
rather than just read about it. It provides them with time to work in groups, to share ideas and
to come up with useful proposals to use in class with different stories. Finally, it enables them
202
to become part of a blog that provides supportive online professional development and new
ideas to work taking into account the new trend in education. Such a network can foster
mutual collaboration
between trainer and trainees beyond the training process.
Objectives
Teachers will be able to
203
Understand basic concepts about the brain.

Discuss about myths and truths about how the brain learns.
Reflect on the use of stories as a tool to teach EFL to young children.

Understand and reflect on the relevance of some activities in the learning process.
Prepare and/or adapt a story kit.
Become part of a network to foster on going collaboration.
204
Calendar Plan
The proposal
is divided into three sessions, of 1 hour 30 each.
Activities Proposed
SESSION #1
205
Participants choose one story from some provided and brainstorm characteristics that
would make them a suitable tool to teach EFL to young children.
STORY TIME #1. Typical and simple way of introducing a story.
Think-Pair-Share. What aspects do you consider relevant when choosing and telling
the story? Which ones have you seen reflected? Which one would you change?
STORYTIME #2. Other ways to consider when introducing a story.
206
POSTER. In groups, teachers prepare a poster that shows the characteristics of

stories discussed and possible activities to be carried out.
SESSION #2
How the brain works. Key concepts of Mind, Brain and Education Science.
Making connections. Elements from the previous session and MBE concepts.
207
MIND MAP. In groups, come up with a mind map with items to consider when planning
how to use a story.
SESSION #3
GROUP WORK. Using a story of their own choice, adapt it, think about possible
activities taking into account the previous sessions. STORY KIT.
SHARING TIME: story kits.
208
Personal Reflection.
Introduction to the network through a blog.
Feedback and evaluation.
209
Conclusions and Future Challenges

If teachers are a bit like gardeners, every day at school is a new opportunity to sow
seeds, nourish students
learning or weed out misunderstandings. Every class is an
experience that shapes their brain. Better understanding of the structure and function of the
brain can help teachers rethink teaching tools and strategies, become more informed to
transform teaching practices. The new trend of MBE cannot be disregarded and should be
210
taken as an opportunity to promote this transformation in the classroom that is needed to

cope with the demands of current students needs.
The completion
of the Capstone Project has been an opportunity to reflect on Mind,
Brain and Education Science or Neuropsychoeducation as an emerging field and to nurture

the understanding of learning. The focus on analyzing the use of stories more in depth
strengthened the belief about the power of stories as a tool to teach EFL to children.
211
Moreover, the connections formulated have become a framework to be used not only to
design story kits with many other stories but also to reflect on other instructional tools and
strategies.
The new challenge is to multiply the effect of this nurturing project. In this regard, the
development of the story kit sample is the first step to continue developing useful instructional
material to teach children. The Teacher Training Proposal provides a possibility to share this
212
knowledge and experience at school and other institutions as well as the Teacher Training at
University. Furthermore, the impact of the tools designed could be further analyzed by
implementing them
in classrooms where a more traditional mode of instruction has been used
and evaluating the outcomes. Other possible areas of related research have also emerged
from conversations about this Capstone Project. These challenges will all be fascinating and
exciting to work towards.
213
214
References
Blakemore, S., & Fulbright
Frith, U. (2005).
The Learning Brain: Lessons for education. Malden, MA:
Blackwell.
Blakemore, S., & Frith, U. (2005). The Learning Brain: Lessons for education: A prcis.
Developmental Science, 8 (6), 459-465.
215
Bodrova, E. & Leong, D.J. (2007). Tools of the Mind: The Vygotskian Approach to Early
Childhood Education. 2nd Edition. Upper Saddle River, NJ: Pearson Education Inc.
Byrnes, J.P. & Fox, N.A. (1998). The Educational Relevance of Research in Cognitive
Neuroscience. Educational Psychology Review, 10, 297-342.
216
Diamond, A. & Tippet, K. (2009) Leaning, Doing and Being: A New Science of Education.
Retrieved from http://being.publicradio.org/programs/2009/learning-doing-being/videoFulbright Distinguished Awards in Teaching Program
diamond.shtml#video
Diamond, A., Barnett, W.S., Thomas, J. &Munro, S. (2007). Preschool Program Improves
Cognitive Control. Science, 318, 1387-1388.
217
Draganski, B., Gaser, C., Busch, V., Schuierer, G., Bogdahn, U., &May, A. (2004). Changes in
Grey Matter Induced By Training. Nature, 427, 311-312.
Faeth, M. &Immordino-Yang, M. H. (2010). The Role of Emotion and Skilled Intuition in

Learning. In Sousa, D. Mind, Brain and Education: Neuroscience Implications for the
Classroom (pp 69-83). Bloomington, IN: Solution Tree.
218
Goswami, U. (2004). Neuroscience and Education. British Journal of Educational Psychology,

74, 1-14.
Greenough, W.T., Black, J.E., & Wallace, C.S. (1987). Experience and Brain Development.
Child Development, 58, 539-559.
219
Hardiman, M.M. (2010) The Creative-Artistic Brain. In Sousa, D. Mind, Brain and Education:
Neuroscience Implications for the Classroom (pp 227-246). Bloomington, IN: Solution
Tree.
Hart, L. (1983). Human Brain and Human Learning. Kent, WA: Books for Educators.
220
Hickman, P., Pollard-Durodola, S. & Vaughn, S. (2004). Storybook reading: Improving

vocabulary and comprehension for English language learners. Reading Teacher, 57,
720-730. Fulbright Distinguished Awards in Teaching Program
Hoffman, J., Roser, N., & Battle, J. (1993). Reading aloud in classrooms: from the modal
toward a model. Reading Teacher, 46, 496-503.
221
Kimmel, E. (1988) Anansi and the Moss-Covered Rock. New York, USA: Holiday House.
Layne, S. & Silverstein,
L. B.
Defining ArtsAwards
Integration.
Retrieved
from http://www.kennedyFulbright
Distinguished
in Teaching
Program
center.org/education/ceta/
222
Pickering, S. J. & Howard-Jones, P.A. (2007). Educators views of the role of Neuroscience in
Education: Findings From a Study of UK and International perspectives. Mind, Brain
and Education,
1(3), 109-113.
Ratey, J. (2002). A Users Guide to the Brain: Perception, Attention and the Four Theatres of
the Brain. New York: Vintage Books.
223
Robinson, K. (2001). Out of Our Minds: Learning To Be Creative. West Sussex, United
Kingdom: Wiley &Sons.
Sawyer, R.K, (2006). Educating For Innovation. Thinking Skills and Creativity, 1(1), 41-48.
Sousa, D. et al. (2010). Mind, Brain and Education: Neuroscience Implications for the
Classroom. Bloomington, IN: Solution Tree.
224
Sylwester, R. (1995). A Celebration of Neurons. An Educators Guide to the Human Brain.

Alexandria, VA: Association for Supervision and Curriculum Development.
Tokuhama Espinosa, T. (2011). Mind, Brain and Education Science: A Comprehensive
Guide to New Brain-Based Teaching. New York, NJ: Norton & Company, Inc.
225
Willis, J. (2006). Research-based Strategies to Ignite Student Learning: Insights from a

Neurologist and Classroom Teacher. Alexandria, VA: Association for Supervision and
Curriculum
Development.
Willis, J. (2007). Brain-Friendly Strategies for the Inclusion Classroom. Alexandria, VA:
Association for Supervision and Curriculum Development.
226
Willis, J. (2008). How Your Child Learns Best: Brain-Friendly Strategies you can Use to Ignite
Your Childs Learning and Increase School Success. Naperville, IL: Sourcebooks.
Willis, J. (2010). The Current Impact of Neuroscience on Teaching and Learning. In Sousa, D.
Mind, Brain and Education: Neuroscience Implications for the Classroom (pp 44-66).
Bloomington, IN: Solution Tree.
227
Wolfe, P. (2001). Brain Matters: Translating Research into Classroom Practice. Alexandria,
VA: Association for Supervision and Curriculum Development.
Websites
http://www.aboutmind.com/memory-brain-neurons-1.shtml
http://www.wholechildeducation.com
228
http://www.dana.org
229

MariaLauraFuertes Teach Kids

Enviado por

Dados do documento

Descrição original:

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

MariaLauraFuertes Teach Kids

Enviado por

Direitos autorais:

Formatos disponíveis

University Fulbright

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

opportunity to be part of this enriching experience.

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

I owe my deepest gratitude to my mother, to Constanza de la Vega and to Lucrecia

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

Fulbright Distinguished Awards in Teaching Program

Learning is About the Brain

Brainy Ways to Teach Kids Through Stories

Fulbright Distinguished Awards in Teaching Program

Learning is About Survival

Learning Requires Activation Prior Knowledge

Attention is Key to Learning

Brainy Ways to Teach Kids Through Stories

Learning is About Emotions

The Environment Affects Learning

Fulbright Distinguished Awards in Teaching Program

Learning is About Rehearsal

Learning is About Social Interaction

Learning is About Creativity

Tools of the Mind

What are Executive Functions?

Distinguished Awards in Teaching Program

Tiny Toy Tales

Brainy Ways to Teach Kids Through Stories

Story Kit Sample: Anansi and the Moss-Covered Rock

Script and Teachers Intervention

Fulbright Distinguished Awards in Teaching Program

Playing with the Story

Brainy Ways to Teach Kids Through Stories

Teacher Training Proposal

Conclusions and Future Challenges

Brainy Ways to Teach Kids Through Stories

Fulbright Distinguished Awards in Teaching Program

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

(Blakemore & Frith, 2005)

Brainy Ways to Teach Kids Through Stories

probably depend on future experiences and continued exposure.

Education is to the brain what gardening is to a landscape. Every time an individual

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

opportunities to educators, they complement rather than replace traditional methods of

Brainy Ways to Teach Kids Through Stories

neuroscience (Goswami, 2004). A report presented in 2007 by Pickering and Howard-Jones

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

learners, within the context of Mind, Brain and Education Science

Distinguished Awards in Teaching Program

The focus is on translating theoretical knowledge to daily classroom practice and an

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

Learning is About the Brain

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

Brainy Ways to Teach Kids Through Stories

Fulbright Distinguished Awards in Teaching Program