7ART TO HEART TRAINING: Literacy and Drama … and Drama PARTICIPANT HANDOUT 7ART TO HEART TRAINING:...

Art to Heart Training Series • © 2009 KET • Module 7 Handout • 1

Literacy and DramaPARTICIPANT HANDOUT7A R T T O H E A R T T R A I N I N G :

Art to Heart Training SeriesThis training series was developed by KET (KentuckyEducational Television) and the University ofKentucky Human Development Institute. Funding forits development was provided by the KentuckyDepartment of Education using KIDS NOW fundsfrom the proceeds of the Master TobaccoSettlement and by the W. Paul and Lucille CaudillLittle Arts Endowment for KET.

Content developed by Nicki Patton Rowe, HumanDevelopment Institute, UK, with contributions by VickeBowman, Kim Buckner, Rena Hallam, Chris Kelley, and NancyNewberry. Edited by Teresa Day and Ben Allen, with graphicdesign by Missy Miller and Sara O’Keefe, and CD-ROM designby Dave Hamon, all of KET.

The Art to Heart: Early Childhood Creativity television serieswas produced by KET with support from the W. Paul andLucille Caudill Little Arts Endowment for KET and the NationalEndowment for the Arts.

OverviewThis is the seventh of eight training modules inthe Art to Heart Training Series. This moduleexplores story reading, storytelling and dramaand their role in early learning.

Workplace OutcomesWhen you return to your workplace, you will beable to: • help families and others understand how

interactive story reading, storytelling, anddrama promote the development of literacyskills that children need to become success-ful readers

• Use the following strategies to foster vocabu-lary development and other literacy skills:- Use questions and comments to engage

children in conversation as you read and/ortell stories; and

- Provide opportunities for children to drama-tize (act out) stories

Training OutcomesBy the end of this session, you will be able to:• explain the role vocabulary plays in learning

to read.• distinguish between story reading and story-

telling and explain the benefits of each.• use questions and comments to engage chil-

dren in conversation before, during and afterstory reading.

• identify two or more ways to incorporatedrama into story reading and storytelling.

2 • Module 7 Handout • © 2009 KET • Art to Heart Training Series

This training is one part of an eight-part training seriesbased on an award-winning national public televisionseries entitled Art to Heart : Early Childhood Creativity. Thetelevision series was produced by KET (KentuckyEducational Television) and has aired on PBS stationsacross the United States.

Each program shows model activities in schools, childcare centers, and homes and features interviews withresearchers, teachers, parents, and other advocates of earlyarts activities.

This training module uses brief segments from the Art toHeart program on Movement and Dance. You may enjoyand benefit from watching the entire program and otherprograms in the series. Check the KETschedule for broadcast times on KET. TheArt to Heart series can also be purchased onDVD.

To find out the broadcast schedule or aboutpurchasing the series visit the web sitewww.ket.org/arttoheart. This web siteincludes a downloadable Viewing Guide andadditional ideas and information.

Additional Uses for the Art to Heart DVDand Viewing GuideEarly childhood education programs could use the DVDand Viewing Guide to provide additional professionaldevelopment opportunities for staff. For example:• Use individual segments to initiate discussion during a

staff meeting.• Encourage staff to view segments using a laptop com-

puter with DVD during naptime.• Encourage families to check out the DVD and Viewing

Guide to watch at home.• Plan a parent meeting/training around one or more

Art to Heart segments.

The Training ModulesThe Art to Heart Training Series is designed for childcare professionals and consists of eight training modulesexploring the arts in early childhood. Modules provide afoundation of understanding of brain development andthe connection of creative activities such as visual art,dance and movement, music, and drama to early learning.

Each of the eight training modules takes a hands-on, active approachgiving early childhood educators an opportunity to explore

AArrtt ttoo HHeeaarrtt explores the importance of visual arts,music, dance, drama, and literature in the lives of infants,toddlers, and young children. There are eight half-hourprograms in the series:

Program 1: Children’s First LanguageProgram 2: Visual ArtsProgram 3: MusicProgram 4: Movement & DanceProgram 5: Drama & the Literary ArtsProgram 6: The Artful EnvironmentProgram 7: Arts for LearningProgram 8: Arts Everyday

ABOUTthe Art to Heart Training Series


different aspects of the arts and gain practical ideasfor their classroom.

Module topics include:

Module 1: The Arts & Early BrainDevelopmentAn overview of the arts and the role thearts play in brain development.Participants gain a deeper understandingof brain development and the impor-tance of teaching about the arts andthrough the arts.

Module 2: The Arts & Early LearningAn overview of the ways in which youngchildren learn. Participants learn pro-gramming approaches to enhance youngchildren’s learning about the arts.

Module 3: Visual ArtsAn overview of visual arts in early learning and an explo-ration of the importance of scribbling and its relation-ship to reading and writing. Participants learn the stagesof drawing and gain ideas for providing appropriatedrawing materials.

Module 4: The Language of Visual ArtsAn exploration of visual arts concepts and terminology.Participants learn how to talk to children about their art-work using terminology that will build children’s vocabu-lary and awareness of the elements of art.

Module 5: MusicAn exploration of music and the role it plays in earlylearning. Participants learn how to build children’s vocab-ulary and awareness of musical concepts as well as waysto encourage exploration of sound through singing, lis-tening, and playing with instruments.

Module 6: Movement and DanceAn exploration of movement and dance concepts andterminology. Participants learn how to use movementand dance activities to promote development of basicmotor skills and early learning.

Module 7: Literacy and DramaAn overview of storytelling and drama and its role inearly learning. Participants gain a deeper appreciation forsocio-dramatic play and the role of narrative and text insupporting development. They also learn strategies toenhance dramatic play scenarios, link dramatic play withtext, and enhance the reading of text to support literacydevelopment.

Module 8: The Arts at HomeDesigned for use with parents, this module shows ways tohelp parents learn how the arts stimulate brain develop-ment and to encourage arts activities in the home.Participants learn how to conduct one-hour parent work-shops on practical ways parents can promote learning athome using the arts.


Video Segment: The Value of Arts(Storytelling & Drama)

In this segment, teachers and other experts offerideas about the value of the dramatic arts, literature,and storytelling in the lives of young children.As you watch this segment from program 5 of the Artto Heart series, think about these questions and noteyour answers below.

• Which comment caught your attention? Why?________________________________________________________________________________________________________________________________________________________________

• Why do these experts say children need opportunities to pretend and try on roles?________________________________________________________________________________________________________________________________________________________________

• How does the use of props and drama help non-English speaking children?________________________________________________________________________________________________________________________________________________________________

• Why is it important to talk, sing, and read to babies from a very early age?

________________________________________________________________________________

________________________________________________________________________________

Reading

LEARNING TO READStorytelling and drama include the following types of activities:

• puppets• dramatic play (pretend play)• pantomime • story dramatization (acting out the story)• storytelling (without books)• listening to and reading stories, poems,

nursery rhymes, etc.• dictating and/or writing stories, poems,

etc.

Sometimes I wantto defenestrate thetelevision.


Q: When should children learn to read?

A: According to a joint position statement of the International Reading Association and the

National Association for the Education of Young (1998, p. 8):

“Like other complex skills, reading and writing are outcomes that result from the continu-al interplay of development and learning, and therefore a range of individual variation isto be expected in the rate and pace at which children gain literacy skills. Given exposureto appropriate literacy experiences and good teaching during early childhood, most chil-dren learn to read at age six or seven, a few learn at four, some learn at five, and othersneed intensive individualized support to learn to read at eight or nine. Some childrenwho do not explore books and other print during their early years are likely to need morefocused support for literacy development when they enter an educational program,whether at preschool, kindergarten, or first grade (since preschool and even kinder-garten attendance is not universal). Other children who enter school speaking little or noEnglish are likely to need instructional strategies in their home language (Snow, Burns,& Griffin 1998).

Given the range within which children typically master reading, even with exposure toprint-rich environments and good teaching, a developmentally appropriate expectation isfor most children to achieve beginning conventional reading (also called early reading)by age seven. For children with disabilities or special learning needs, achievable butchallenging goals for their individual reading and writing development in an inclusiveenvironment are established by teachers, families, and specialists working in collabora-tion (DEC Task Force 1993; DEC/CEC 1994).”


Early Literacy Development

The Center for Early Literacy Learning (CELL) has identified the following seven, overlapping interrelated areas of literacy-relatedcompetencies (2006, p. 4).

Competency Definition Example

For more information, check out the Center for Early Literacy Learning’s web site: www.earlyliteracylearning.org/.

Alphabet Knowledge

Print Awareness

Written Language

Phonological Awareness

Text Comprehension

Oral Language

Listening Comprehension

Ability to recognize and name the let-ters of the alphabet

Ability to recognize the characteristicsof the rules and properties of writtenlanguage

Ability to represent ideas or words in aprinted or written format

Ability to recognize, manipulate, anduse sounds in words, including the abil-ity to hear and discriminate the soundsin language

Ability to understand and process themeaning of ideas represented in text

Ability to use words to communicateideas and thoughts and to use languageas a tool to communicate to others

Ability to process and understand themeaning of spoken words

Child points to a letter and says, “That isan M. I have one of those in my name.”

Child picks up a book and noticing that itis upside down, turns the book over,demonstrating that the child is beginningto understand how print works (e.g., booksare read from top to bottom, left to right,etc.).

Child adds his/her name to a drawing.

Child enjoys playing with word sounds andmaking up silly rhymes (e.g., “Joe’s toe is ano, no.”)

While looking at a book, child points tothe word “cat” and says “That says cat.My cat’s name is Bluebell.”

While playing with the blocks, child saysto a friend, “This blue block will be atruck. My papa has a blue truck that goesvvrrooom, vvrrooom.”

After reading The Three Little Pigs, childanswers questions about the story (e.g.,What happened to the house made ofstraw?).


The Matthew Effect

To become “word-rich readers,” children need opportunities to engage in

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Reading Ability

Fluent Readers

Poor Readers


LITERATURE (STORIES)

Story Reading

Children learn to read by being read to. But how you read stories to children matters!

Story Storytelling

Story Reading

PlotCharacters

Setting

LanguageDevelopment &

Literacy

Child ________________as adult reads story aloud

Adult and child have a________________about the story

Child’s Level of Involvement

Child ________________the story as adult listens


What Do You Notice About this Story-Time Experience?

Nicole, a preschool teacher, enjoys reading to small groups of children each day in her class.She noticed that several children in the book area were looking at the book Goodnight Moon.She asked the children if they would like her to read the book to them. They said yes enthusi-astically and settled down around Nicole, ready to listen.

Nicole showed the children the front cover, and pointed out the title. She asked the childrenwhat they know about the moon. Rachel said “The moon shines in my window at night.” Johnsaid “The moon comes up at night so the animals can see where they are going.” Followingup on John’s statement, Nicole asked “Have you ever walked outside in the moonlight?” Johnsaid, “Sometimes, but it is kind of scary.”

Nicole began to read the story, which is about a rabbit who says good night to all the things inhis bedroom. As Nicole read the story, she asked questions to get the children engaged in thestory. For example, she asked:

• “Here is a picture of the green room. Tell me something you notice about the greenroom.”

• “This is the word brush. What letter does the word brush start with?”• “Can you show me another ‘b’ on this page?”• “Why do you think the rabbit wants to tell everything in his bedroom goodnight?”• “Who do you say goodnight to when you go to bed?”• “What do you think he will say goodnight to next?”• “What was your favorite part of the story? Why?”

As the children answer Nicole’s questions, she follows up on their answers by providing addi-tional information. Sometimes Nicole asks additional questions.


When reading a story, just remember to start theCAR.

1. As you read, make a C__________ about something inthe story or in the pictures, then wait for children torespond. For example: Adult points to picture and says,“This little pig looks scared.”

2. A__________ questions and wait for answers. For example:

• What do you think this book is about? What makesyou think that?

• What is this?• What is __ doing?• What might happen next?• Where did ___ go?• Where do you think ___ will go next? • Why do you think __ did that?• When did …?• How did the story make you feel?• Has anything that happened in the story ever happen to you?• What was your favorite part of the story? Why?

3. Then, R__________ by adding a little more, expanding on child’s answer. For example:

• Child points to the picture of a wolf and says, “Wolf.” Adult responds, “Big, bad wolf.”• Child says, “Pig in tree.” Adult responds, “Yes, the pig is in the apple tree.”

The CAR technique, developed by Washington Learning Systems, is based on the concept of dialogic reading pioneered byDr. Russ Whitehurst.


Tips for Story Reading1. Read the story dramatically using character voices, puppets, and/or props.

• Read with expression in your voice. • Fit your voice to the action and mood of the story (e.g., spooky, silly).• Use different voices for different characters.• Pause to create suspense.

2. Use questions before, during, and after you read to encourage conversation about the story. For example:• What do you think this book is about?

What makes you think that? • What is this?• What is __ doing?• What might happen next?• Where did ___ go?• Where do you think ___ will go next?

Dialogic Reading Works!

The CAR technique, developed by Washington Learning Systems, is based on the concept ofdialogic reading pioneered by Dr. Russ Whitehurst. According to Zevenbergen & Whitehurst(2003), children who are active participants in the book reading experience show greater lan-guage gains than those who simply listen to an adult read the book. In dialogic reading, the childbecomes an active partner in the reading process. The adult uses questions and expandedresponses to stimulate a dialogue, or conversation, about a book. For more information aboutdialogic reading, check out the following web sites:

• Washington Learning Systems web site: www.walearning.com• Roots of Reading—An Interview with Dr. Whitehurst at the PBS Reading Rockets:

Launching Young Readers web site: www.pbs.org/launchingreaders/rootsofreading/meettheexperts_2.html

• Dialogic Reading at the Multinomah Public Library web site: www.multcolib.org/ birth-tosix/elitdialogic.html

• Dialogic Reading: An Effective Way to Read to Preschoolers at the Reading Rocketsweb site: www.readingrockets.org/articles/400

• Relative Effectiveness of Dialogic, Interactive, and Shared Reading Interventions whichcan be downloaded fromwww.earlyliteracylearning.org/cellreviews/cellreviews_v1_n2.pdf

• Promoting Early Literacy with Dialogic Reading which can be downloaded fromwww.mspa-online.com/hub/PDF_files/MSPApp_Dialogic.pdf

• Why do you think __ did that?• When did …?• How did the story make you feel?• Has anything that happened in the story ever

happen to you?• What was your favorite part of the story? Why?


Storytelling

Selecting a Story to TellFamiliar folk tales and fairy tales are traditional stories from a cul-ture’s oral tradition that have been told and retold for genera-tions. Examples include:

“The Three Little Pigs”“The Three Billy Goats Gruff ”“Stone Soup”“The Gingerbread Man”“The Ugly Duckling”“Millions of Cats”

Authored stories are stories originally meant to be read. Raines and Isbell(1994) identify the following contemporary books as examples of authoredbooks effective for storytelling:

Alexander and the Wind-Up Mouse by Leo LionniCaps for Sale by Esphyr SlobodkinaCorduroy by Don FreemanDandelion by Don FreemanFat Cat by Jack Kent

Learning the StoryStorytelling requires that the storyteller learn the story since he/she will not be reading the story from a book. Whenlearning the story, the goal is not to memorize the story. Instead, the goal is to become familiar enough with the plot,sequence of events, key repetitive phrases, and the characters so that you can tell the story from memory.

• Read and reread the story.• Outline the plot and sequence of events.• Study the sequence of events and any recurring patterns but don’t try to memorize the story.• Identify key phrases (e.g., repetitive).• Create a picture of the story in your mind.• Think about the characters. What are their unique qualities? How would they act? How do they contribute to the

story?• Practice telling the story aloud in your own words.• Raines and Isbell (1994) suggest using index cards to create story cards that include: name of story, author,

characters (in order that they appear in story), a synopsis or outline of the story including key phrases or exactwording that should be used, questions to ask children, potential props, follow-up activities, and other relatedbooks.


Telling the Story

• Practice telling the story to someone before telling it tochildren (or record and listen to the recording).

• Tell the story in your own words.• Involve children in the story with repetitive phrases,

questions, or other strategies.• Use your voice, facial expressions, and gestures to

make the story come alive.• Use an expressive voice. • Fit your voice to the action and mood of the story (e.g.,

spooky, silly).• Use different voices for different characters.• Pause to create suspense.• Make eye contact with the children.• Tell the story more than once over a period of time.

For More Information

Websites with useful information about storytelling include:• www.ket.org/arttoheart/program5/storytelling.htm• www.drisbell.com/stories/stories01.html • www.timsheppard.co.uk/story/tellinglinks.html#How%20to%20Tell%20Stories

These books by Raines and Isbell make storytelling easy by providing a collection of storiescomplete with storytelling tips, questions to ask, follow-up activities, and story cards:

• Tell It again! Easy-To-Tell Stories with Activities for Young Children (1999)• Tell It again! 2: Easy-To-Tell Stories with Activities for Young Children (2000)

Articles about storytelling include:• Curenton, S. (2006). Research in review. Oral storytelling: A cultural art that promotes

school readiness. Young Children, 61(5), 78-89.• Isbell, R. (2002). Telling and retelling stories: Learning language and literacy. Young

Children, 57(2), 26-30.• Isbell, R., Sobol, J. Lindauer, L., & Lowrance, A. (2004). The effects of storytelling and

story reading on the oral language complexity and story comprehension of young chil-dren. Early Childhood Education Journal, 32(3), 157-163.

• Whaley, C. (2002). Meeting the diverse needs of children through storytelling. YoungChildren, 57(2), 31-34.


Video Segment: The Book and Beyond—Puppets

You will watch a segment from the Art to Heart series. In this segment, Ingrid Crepeau, a Wolf Trapteaching artist, uses puppets to bring stories to life.As you watch this segment from program 5 of the Art to Heart series, think about these questionsand note your answers below.

• What are the benefits of using puppets with young children? ______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

• List all the ways Crepeau involves children as she tells the story. ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

• How did Crepeau help the children understand the concept of “toys floating on the ocean?” _____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

DRAMA

DramaActing out of a

story.

Brings Story to Life

Increases benefits


Video Segment: Myth Making

You will watch a segment from the Art to Heart series. In this segment, JoshuaBeasley, a kindergarten enrichment teacher at the Smithsonian Early Child CareCenter uses themed explorations to encourage students to explore story writing and

storytelling, science, music, and art. A painting, a violin, a wolf mask, and the Natural HistoryMuseum become launching points for the class’ creation of a story.

As you watch this segment from program 5 of the Art to Heart series, think about these questionsand note your answers below.

• What role did the storytelling play in the learning? _______________________________________________________________________________________________________________________

• What role did pantomime and story dramatization play?__________________________________________________________________________________________________________________

• What was different and what was similar about the teaching style you saw in this segment andwhat you already do as a teacher? __________________________________________________

________________________________________________________________________________

• How can you access the kinds of props, tools, and resources seen in this segment? What elsecould you use? __________________________________________________________________

________________________________________________________________________________

How to Bring Stories to Life1. Read or tell the story dramatically.

• Read with expression in your voice. • Fit your voice to the action and mood of the story (e.g., spooky, silly).• Use different voices for different characters.• Pause to create suspense.

2. Use puppets and other props. Ideas for making puppets include:• Make plastic spoon puppets, brown paper bag puppets, paper plate and popsicle stick puppets,

or sock puppets. • Make finger puppets by cutting the fingers off old gloves, then decorate. • For older children, make a puppet stage using a cardboard box with a hole cut out or a table

with a blanket over it. • For more puppet ideas, go to:

• Puppets at Home: http://betterkidcare.psu.edu/ParentsCount/ParentsCount1299.pdf• Tips for Making Puppets at Home: http://sjlibrary.org/services/early_care/b4lh/tips/pup-

pets_home.pdf

3. Act out the story as you tell the story.


Encourage Retelling and Story Dramatization

• Retelling and/or acting out a story gives children anopportunity to use the story vocabulary.

• Acting out the story also improves story comprehension(Pellegrini & Galda, 1982).

Children are more likely to act out stories if:• The story is read more than once.• Predictable books are read.• Props used during story time are available in learning

centers (McGee, 2003).

Action Plan

1. Identify two or three things you want to begin doing different or want to begin doing as aresult of this training.

________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

2. Identify two or three points you want to share with a co-worker.________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


AppendixStory Extension Activities for The Three Little Pigs

Visual Arts • “Blow” Painting: Put a dollop of tempera paint on a piece of paper and encourage your child to blow through a straw

pushing the paint across the paper.• Pink Pigs: Form pigs using different shaped balls of pink play dough (see recipe for homemade play dough below).

Homemade Play Dough: Mix 2 cups water, 1 cup salt, 2 cups flour, food coloring and 4 teaspoons cream oftartar in a large bowl or blender until the lumps disappear. Then, mix in 1/4 cup vegetable oil. Put the entire mix-ture into a sauce pan and “cook” it over low heat until it clumps together. Pour out the mixture out and let it cool.Then knead. Store in zip loc bags. You can also use Kool-aid to add color and scent.

• Make a straw-and-stick collage or sculpture.• Pigs in the Mud: Finger paint with chocolate pudding. Tear pieces of pink construction paper to make pigs. Place on the

“mud” before it dries.• Go to the zoo or a farm and take photographs of pigs. Make a picture book.

Music, Movement and Dance• Make up words to a new song using a familiar tune. For example: B-I-N-G-O, Farmer in the Dell, London Bridge, Row

Row Row Your Boat, Wheels on the Bus, Twinkle Twinkle LittleStar, and Mulberry Bush.

• Listen to The Three Little Pigs Blues by Greg & Steve (on the PlayingFavorites CD, www.gregandsteve.com/cds_videos.php)

• If a pig could dance, what would it look like?• Create a “pig” line dance.

Literature• Read the True Story of the Three Little Pigs available online at

www.shol.com/agita/wolfside.htm. • Read The Three Little Pigs online at:

www.bbc.co.uk/cbeebies/tweenies/storytime/stories/3lit-tlepigs/#www-math.uni-paderborn.de/~odenbach/pigs/pigs.html

• Read other “pig” books such as: The Three Pigs by David Weisner; The Three Little Pigs by Steve Kellog; Pigs by Gail Gibbons;Pigs Might Fly by Dick King-Smith; The True Story of the Three Little Pigs by Jon Scieszka); If You Give A Pig A Pancakeby Laura Numeroff; Charlotte’s Web by E.B. White; and Olivia by Ian Falconer.

• Go online to learn about real pigs (e.g., www.pbs.org/wnet/nature/pigs/). • Chant pig nursery rhymes (Three Pigs Went to the Market, This Little Piggy).

Dramatic Play• Build houses with various types of building blocks and other materials (e.g., straw, sticks, stones). Experiment with

“huffing and puffing” to determine which “houses” are the easiest to blow down. If “huffing and puffing” doesn’t work,try blow dryers and fans.

• Make flannel board pieces out of felt. Encourage children to use in retelling the story.

Don’t remember the tune to a children’s song? Go to the National Institute ofEnvironmental Health Sciences website: http://kids.niehs.nih.gov/music.htm. You’ll find midis (down-loadable sound files) and lyrics foryour favorite sing-along songs.


References for This Training Module

Al Otaiba, S. (2004). Weaving moral elements and research-based reading practices in inclusive classrooms using shared book reading techniques. Early Child Development and Care, 174(6), 575-589.

Curenton, S. (2006). Research in review. Oral storytelling: A cultural art that promotes school readiness.Young Children, 61(5), 78-89.

Dunst, C., Trivette, C., Masiello, T., Roper, N. & Robyak, A. (2006). Framework for developing evi-dence-based early literacy learning practices. CELLpapers, 1(1). Retrieved from www.earlyliteracylearn-ing.org/cellpapers/cellpapers_v1_n1.pdf.

Engel, S. (n.d.). The emergence of story telling during the first three years. Retrieved on May 16, 2007 fromwww.zerotothree.org.

Gough, P. (1996). How children learn to read and why they fail. Annals of Dyslexia, 46, 3-20

Hirsch, E. D. (2003, Spring). Reading comprehension requires knowledge – of words and the world.American Educator. Retrieved fromwww.publiceducation.org/pdf/Research/Reading_comprehension.pdf.

International Reading Association & National Association for the Education of Young Children.(1998). Joint position statement of the IRA and NAEYC: Learning to read and write—Developmentally appropriatepractices for young children. Retrieved on March 1, 2008 fromwww.naeyc.org/about/positions/pdf/PSREAD98.PDF.

Isbell, R. (2002). Telling and retelling stories: Learning language and literacy.Young Children, 57(2), 26-30.

Isbell, R., & Raines, S. (2003). Creativity and the Arts with Young Children.Clifton Park, NY: Delmar Learning.

Isbell, R., Sobol, J. Lindauer, L., & Lowrance, A. (2004). The effectsof storytelling and story reading on the oral language complexity andstory comprehension of young children. Early Childhood Education Journal,32(3), 157-163.

Isbell, R., Sobol, J., Lindauer, L., & Lowrance, A. (2004, December).The effects of storytelling and story reading on the oral language com-plexity and story comprehension of young children. Early ChildhoodEducation Journal, 32(3), 157-163.

Justice, L. & Kaderavek, J. (2002). Using shared storybook reading to promoteemergent literacy. TEACHING Exceptional Children, 34(4), pp. 8-13.

Mages, W. (2008, March). Does creative drama promote language development in early child-hood? A review of the methods and measures employed in the empirical literature. Review of EducationalResearch, 78(1), 124-152.


Martinez, M. (1993, May). Motivating dramatic story reenactments. The Reading Teacher. 46(8), pp.682-688.

McGee, L. (2003). Book acting: Storytelling and drama in the early childhood classroom. In Barone,D., & Morrow, L. (Eds.). Literacy and Young Children: Research-Based Practices. New York, NY: The GuilfordPress.

Raines, S., & Isbell, R. (1994). Stories: Children’s literature in early education. Albany, NY: DelmarPublishers.

Rosenkoetter, S. & Barton, L. (2002, February/March). Bridges to literacy: Early routines that promote laterschool success. Retrieved December 11, 2007 from www.zerotothree.org/site/DocServer/Vol_22-4f.pdf ?docID=1182&AddInterest=1145.

Senechal, M. (1997). The differential effect of storybook reading on preschoolers’ acquisition ofexpressive and receptive vocabulary. Journal of Child Language. 24, pp. 123-138.

Smyth, J. (2005). Storytelling with young children. Retrieved on March 1, 2008 from www.earlychild-hoodaustralia.org.au/pdf/rips/rip0501.pdf.

Stanovich, K. (1986). Matthew Effects in reading: Some consequences of individual differences in theacquisition of literacy. Reading Research Quarterly, 21(4), pp. 360-407.

Trivette, C. & Dunst, C. (2007). Relative effectiveness of dialogic, interactive, and shared readinginterventions. CELLreviews, 1(2). Retrieved from www.earlyliteracylearning.org/cellreviews/cellre-views_v1_n2.pdf.

Whaley, C. (2002). Meeting the diverse needs of children through storytelling.Young Children, 57(2), 31-34.

Whitehurst, G. (1992). Dialogic reading: An effective way to read topreschoolers. Retrieved from www.readingrockets.org/arti-cles/400

Wright, C., Bacigalupa, C., Black, T., & Burton, M.(2008). Windows into children’s thinking: A guide tostorytelling and dramatization. Early ChildhoodEducation Journal. 35, pp. 363-369.

Wright, P. & Wright, P. (2006, revised). What is theMatthew Effect? Retrieved on March 12, 2008 from

www.wrightslaw.com/info/test.matthew.effect.htm.

Zevenbergen, A. & Whitehurst, G. (2003). Dialogic reading: Ashared picture book reading intervention for preschoolers. In VanKleeck, A., & Stahl, S. (Eds.). On reading books to children: Parents and teach-ers. Mahwah, NJ: Lawrence Associates.

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