Kidsfirst Kindergartens Bush Street Centre of Innovation - 2006-08

Chapter 4 Researching central character story

In this chapter we describe our researching about the impact of story on learning. First, we identify and develop the kind of emergent theorising that goes on as we weave a story. Secondly, we describe investigations in relation to particular questions that emerged as we began to explain our practices to other teachers. The chapter ends with a discussion of one of our key insights, that central character story is a very powerful tool for providing leadership for learning and for enabling our children and families to learn together about the intricacies of life and relationships.

4.1 The research methods we used

All the investigations described arose out of our curiosity. A visiting teacher might, for example, have asked a question about how different children are involved and that would trigger an exploration of our practices. Sometimes we used well established ways of data gathering, for example, interviewing a sample of our parents, but at other times we developed our own research tools and ways of showing what happened. At these times, our curiosity was the guide to our research planning and consequent work. Our research planning was emergent: we addressed questions as they arose, just as we do in central character story: our methodology was to be responsive to emerging challenges and questions, to document our actions and thoughts as went.

4.2 Exploring challenges to our practice

As part of our research contract we have shared our ideas about our central character innovation with colleagues. Dissemination has generated fresh challenges and questions for us. One of the problems has been that when visitors come into the centre and watch one episode of central character story they cannot see the Common Threads of Learning (above, p. 10) running through the story across time; they may question why one particular child seems to be getting lots of attention, not knowing our systems for sharing the central character role over the term. Without an interpreter, the significance of some of the words is lost. They cannot know the reason for the excitement the teachers feel about one child’s learning yesterday. They miss seeing the build up of knowledge by the teacher and the creativity in the emerging story. They cannot recognise that a comment from a child calls on a past event and they cannot realise how the story is reinforcing the values that underpin practice.

The questions we have been asked, and those we askourselves, have encouraged us to look closely at what we have been doing intuitively. As we studied our practice, we were able to identify from another angle our thinking, our philosophy, shared values, the complementary way we work and our differences in approach. We have explored these ideas with teachers who are interested in building continuity into their programmes. The teachers who visited ask about whose story is heard, who we choose to play a central character on a given day, what other characters can emerge during a central character story and why, whether everyone gets a turn, which incidents in personal stories we follow, and how we use the environment to support story. We address these questions in this report by looking closely at two examples of our research into central character story sessions.

4.3 Looking closely at our teaching

Julie and Andrew were central characters in term 1, 2008. The two episodes we describe span two days during a time when the teachers were building story around environmental issues. The teachers were also preparing the children for a “Favourite Things Family Evening” at the kindergarten’s family fun night. The central characters were already involved with weaving harakeke (flax) and were planning a trip to the beach to gather some harakeke for weaving.

The incidents we describe began in a session where the children were all gathered together in a circle at mat time. In the first few minutes of mat time, before we even identified who would play the central characters for the day, the talk turned to “favourite things”. Melinda, the teacher, knew that later, during a fun evening with families, the children would see movie clips from the Sound of Music where Julie Andrews would be singing about her favourite things. The following two episodes illustrate how the central characters permeate the life of the centre: even when the characters are not present in costume, their ongoing stories form a backdrop to the life of the centre.  

At the time of the events we describe in Episode 1, Mark had settled well into kindergarten but did not readily express his thinking and ideas within the large group. Now that he felt a sense of belonging, we were keen to follow his story when he contributed to the topic of favourite things. The teachers did not know his parents well because his grandparents brought him to and from kindergarten.

Episode 1 - Melinda waits while Mark remembers a story

Story line	Pedagogical actions	Insights
Melinda asks the children about some of their favourite things	Melinda is facilitating discussion	Children’s stories act as a catalyst and jumping off point from which to integrate the stories and interests of others.
The children were taking turns sharing their thoughts.	Melinda scans the group, carefully using body language and eye contact to support turn taking	Sharing ideas helps build relationships between children and adults. It develops the art of communication - talking and listening beyond the words.
Mark chipped in with “My favourite thing is my dog”.	Melinda encouraged Mark to add his ideas when it happened naturally for him to do so.	Children know the adults are very interested in their lives and those of their families outside of kindergarten – and want to hear these stories at kindergarten.
Melinda asked why his dog was his favourite thing.	Melinda is curious and she role models open questions.	Stories come out of curiosity and asking questions about things we don’t understand.
Mark responded with “my Mum throws …”, and there was a big pause. Mark was deep in thought.	Melinda watches silently – listening.	Emerging stories cannot be hurried and do not fit into a set time. The time fits the story.
Melinda waited patiently, comfortable with the silence.	Melinda perceived that Mark was not uncomfortable, and he was trying to recall what it was that his mother throws to the dog.	Children need time to think out what they want to say.
The children started to make suggestions: “Is it a ball, a stick?” Mark responded: “No” to each suggestion.	Melinda allows participation from other children to help Mark – her intuition tells her that for Mark it is ok for her to do so.	Sharing personal stories create a space for children, families and teachers to work within and enable ideas to be offered which can then be either accepted or rejected by a child.
Eventually Mark continued his story. “My Mum throws a burrito like a frisbee and my dog gets it.”	Melinda created the space and time for Mark to finish his thought.	Story allows simple ideas and the unexpected to come together.
Mark was then able to tell the group more about his dog and the context in which he catches burritos.	Melinda extended his thinking, by being curious and asking questions.	Story allows the layering of ideas - from one child to build on the ideas of another, and for stories from home to be shared at kindergarten.
Other children contributed their stories about family pets.	Melinda allowed Mark’s story to broaden in a way that that was meaningful for the large group.	Story enables connections to be made - it enables teachers and children to be aware of, appreciate and act on many diverse layers to learning for children, families and teachers.
Kay supported Mark to share his story with his grandmother.	So the story would go home and bring home into kindergarten for Mark	Involving family, home and community in kindergarten life through sharing personal stories builds relationships and meaningful partnerships in learning and living.

The events described in Episode 1 had an impact on Mark’s life and family. At the end of session Mark and Kay shared his story (Mark telling about the burrito throwing incident) with his grandmother when she picked him up from kindergarten. This incident lead to conversations at home within the family because the grandmother had not heard about the burrito incident and when the parents heard about his remembering of it they were surprised because the burrito game had happened quite a long time earlier. Later, when Kay met Mark’s mum, it was an immediate catalyst for a conversation that helped to develop a warm relationship. Even though Mark’s burrito story in Episode 1 did not occur within the central character story of Julie and Andrew it is important as it shows how we work with personal stories, and our thinking about story practice. Our practice regarding any shared story also leads into the story session the next day and therefore enables a fuller description of central character story in action, drawing on preceding story sessions as well as the happenings of any particular day.

Helen was not there when Melinda took the mat-time session described above, but she heard about it because the teachers and the grandmother were talking about it. Helen was responsible for facilitating mat time the next day, and on hearing Mark’s story wondered about how she might weave his story into the ongoing saga of Julie and Andrew and the forthcoming trip to gather harakeke. Inspiration! Helen’s sister’s dog, Meg, had learnt to fetch harakeke flower stalks (korari) and loves to play with them. Helen arranged to bring Meg into the centre the next day.

Episode 2 shows the key ideas that Helen wove together during the story session on the following day. The way Helen led the story session allowed the children plenty of opportunities to weave their ideas from yesterday into the day’s story.

Episode 2 – Helen weaves Mark’s story into the Julie and Andrew story

Story line	Pedagogical actions / thinking	Insights
Helen brought Meg, the dog, to kindergarten	To involve a real dog in story and to link with Mark’s story.	Teachers build on an emergent curriculum by bringing resources to weave what happened yesterday into today’s story, and by using the resources already in the kindergarten.
Kay brought burritos and some fillings for the burritos to kindergarten.	Because some children did not know what a burrito was.
All three teachers knew they could gather vegetables in the kindergarten garden to put in the burritos.	It’s meaningful to prepare food and to learn where food comes from.
Several story lines from previous sessions offered possibilities depending on the children’s interests on the day	Helen, Kay and Melinda were all aware of the previous individual children’s family and teachers stories leading up to that day.	To re visit past stories gives opportunities for new things to emerge that we might not think about otherwise.
Helen chose Sarah to be Julie. Sarah told her own story about collecting rocks from the river and painting these with her family.	Children can tell their own as well as their family stories in the guise of the central character. They can tell about places they love to visit in the natural world and why they love them.	Central character stories can weave environmental issues into the story line because of the simplicity of the story framework.
Sarah was keen to dress in Julie’s clothes.	Children can practise the self help skills of dressing.	Central character stories support children’s growing independence.
Kay chose Mark to be Andrew. On this day the central character, Andrew, had a dog, who also liked to catch burritos.	Helen had a dog to deal with and when lots of storylines merge teachers work together.	Central character stories keep teachers real as professional and personal boundaries overlap.
When Mark was being dressed as Andrew he put on a t shirt with harakeke on it	Mark did not want to wear the usual clothes that Andrew wore.	Central character stories give a place for children to have an opinion and to say “no” - and for other children to see and hear that happening.
Meg the dog shared her story through Helen.	Helen wanted to tell why she had brought Meg and why her story links with Mark’s. (Meg likes to clean out old harakeke bushes and to play a game of fetch with the old broken flower stalks.)	Dogs have personal stories too.
Helen linked Meg’s love of “fetch” with the recall of children’s ideas from yesterday when they made suggestions about what Mark’s dog might fetch.	To provide an opportunity to recall the stories from yesterday -or maybe add some new ideas about dogs or fetch.	Central character stories build memory in a meaningful way.
During story time, Helen threw a burrito to see if Meg would catch it. (Meg ignored it)	To open up conversations about Mark’s story. Because it would be fun for everyone.	Central character stories are about the real things – between people, places and things … and dogs!!
Mark held the burrito for Meg to smell (Meg ate it.) * See photograph at end of this table.	Expect the unexpected.	Central characters encourage mindful and purposeful spontaneity and creativity.
Helen threw a ‘korari’ for Meg (Meg rushed after it and played with it).	Its fun to learn new ways of saying things.	Central characters provide a framework to introducing new words in a meaningful context where they can be experienced, e.g korari.
Kay asked children how to cook burritos	Kay pretended to not know how to cook burritos and invited Andrew (aka Mark) to help and be the chef.	Central characters provide opportunities for children to be leaders and teachers to be learners.
Melinda asked children to help get vegetables from the garden to go in the burritos.	Melina involved the children to use their skills to dig, wash and chop vegetables and to recall experiences of doing these things at home – or not.	Central character stories give a place to use authentic and natural resources purposefully, draw links with home, healthy eating, and experience new ways of doing things that might be different from home.
Meg spent time with the children	Helen used this opportunity to give advice about how to meet and greet strange dogs	Central character story sessions give a safe place to experience the realities of keeping ourselves safe as we enact scenarios around safety.
Everyone ate burritos together outside.	Teachers facilitated conversations around health and hygiene in relation to working with food and the ritual of sharing food with friends.	Central character stories give the time and space to honour time spent together, being hospitable, and for children to try new things.
Kay and Mark talked to his grandmother at the end of session	Teachers help stories to go home	Central character stories give a place to link home, kindergarten and community.

Just as life is multi-faceted so are central character stories. If Mark’s story had been developed outside central character storylines, it would still have been an important story for Mark. Helen chose to give Andrew (i.e. Mark taking on the role of Andrew) the ownership of a dog. She was able to talk with him about “his dog”; she was able to encourage more dog stories from other children, and she was able to involve Mark’s story. The impact of this story on his family became apparent when Mark’s grandmother gave feedback.

Mark’s grandmother writes:

“When Mark told me that he’d help make burritos the next day and Helen had brought her dog to trial as a burrito catcher, I felt really pleased and proud of and for Mark, …as if by Mark’s contribution we had all become a little more included and involved in the life of the kindergarten. The page of photos that appeared in his profile book was so important for the whole family, especially Jo and Neil (Mark’s parents). We love looking at them and re living what had happened”.

We noticed after this incident that Mark gained more confidence in the group and other children became more aware of who he was.

4.4 Analysing our teaching - Mark’s storyline

These two episodes show how children can see their stories woven, alongside others, in the ongoing drama, and it also shows how we involve all the children, although that may not be apparent to a casual visitor. We are constantly noticing which children are taking part and, as we show in the next section, we have found various ways of investigating the relationships that emerge during sessions. By weaving Mark’s story into the central character story the teachers enabled other children to extend the discussion. These openings allow other children’s and family stories to surface. We are not able to record the impact on all children - we know, anecdotally, that children, who are not apparently active participants during a story time take stories home to share with their parents.

In our COI investigations, we have found that our intuitive responses during interactions with the children in a story session could reveal our emerging theories about teaching using stories. One theorising thread explored our understanding of an emergent curriculum. We found that Jones and Nimmo (1994, p. 5) captured our thinking well.

In an emergent curriculum we take the children as our models and our co-players. We are the stage directors; curriculum is teachers’ responsibility, not children’s. People who hear the words emergent curriculum may wrongly assume that everything simply emerges from the children. The children’s ideas are an important source of curriculum but only one of many possible sources that reflect the complex ecology of our lives. Teachers need to have both the ideas and vision of where the players might venture together. The teacher is the responsible adult, the organizer who sets the stage, times the acts, and keeps the basic drama together. On those days when all the parts come together, the result is truly magic.

Our answer to a question, for example, about which stories the “responsible adults” select to tell, would include some of the following points. We choose to develop the stories that are of interest to both children and adults and allow the curriculum (including our Common Threads of Learning) to emerge spontaneously. We watch out for the stories that are likely to generate connections between children at kindergarten and home life with their families, as Mark’s story did. We really enjoy the stories that take us down exciting side-roads and allow us to be creative in making connections in a non-linear way. We include stories that encourage parents to spend time with their children through simple home-based activities (including gardening, sewing, baking) or in excursions to natural places.  At times we support parent education, for example, by role-modelling putting a child to bed, or encouraging healthy eating, or encouraging a child to learn to get dressed. Sometimes a particular parent is invited to stay and observe a central character story as we model routines; sometimes parents are involved as actors in the story; sometimes the children learn about what they might be capable of doing by seeing others demonstrate new skills in, for example, getting dressed by themselves.

Our story sessions involve our parents, our visitors and our colleagues. They allow us to weave in situations that arise, such as a parent rescuing a penguin and a mother’s experiences in visiting Antarctica. The list is endless: we include stories about local events like the A&P show, personal stories about the teachers’ lives, the farmer and his tractor, and things the teachers and parents want to learn about (flax weaving, guitar playing). Teachers spot the stories that have the potential to be mutually interesting and to foster enthusiasm in the storyteller and the audience. But there is no formula. The activity of teaching in this way is a bit like being an actor in theatresports: having a variety of storylines that could be used, but actively feeding off audience interests, and engaging the audience in the action. We build on our existing knowledge and experience to juggle the ideas and resources we have at our disposal.

4.5 Being curious: Investigating our understandings of central character story

In this section we report on some of the ways we investigated how central character stories link together and how they involve children and families.

Wow factor – a moment that can be a moment of significance, magic, connection, or learning. It makes you go “wow”.

Episodes 4.1 and 4.2 illustrate how our emergent theoretical thinking about central character story is directly connected with the realities of day to day teaching and the lives and learning of children, families and ourselves as teachers and real people. The insights identified in the right hand columns evolved systematically over the three years of the research contract as we unravelled the learning and meaning inherent in central character story.  After analysing the links of central character story to Te Whāriki, we acknowledged the “wow factor” in what we were able to do through a central character. There was so much more than words could explain.  In 2006, we did not realise the complexity of our apparently simple story process. Our analysis of the John and Jane story led to the Web of Values (see Insert 2,2, p. 9 ) which underpin our teaching and the way we work through central character. Whilst we accept the research imperative to stand back from practice in order to be objective, at the same time we wanted to retain our active engagement as teachers. We wanted to position ourselves in our research in a way that reflected the realities of teaching – and teachers learning alongside children, families and a maze of associated contexts.

Investigation 1 – looking closely at the gallery of central characters

Helen developed some pamphlets as she grappled with her questions about central character story and how we could explain it clearly and succinctly to others. The list of central characters (Section 3.4, p. 16 ) introduced the characters and some ideas from which these stories grew.

 

Investigation 2 – looking closely at children’s involvement

Meanwhile, Kay became curious to explore the ways children’s contributions add to central character stories and the impact making these contributions had on their learning. To track the involvement of all children would be too large so she tracked the involvement of five children for the duration of the central character story of Sackson.

At the end of the term, Kay and Helen discussed whether all personal stories are linked through central character stories and how they build around the central character. They drew a diagram that showed how these current stories related to each other, or not (Insert 4.1).

Each word in the diagram reminds us of personal stories that have been part of the lives of the five children during term 1, 2007. The arrows show the links between the personal stories of different children and their families. The pattern of arrows shows that some stories came together and some sat alone. We note that the central character of Sackson, in the middle of the diagram was not always linked to the personal stories of the children. This diagram shows that, for example, child 5 does not have as many connections to other stories as do other children, but he is still involved.

Insert 4.1: Five childrens’ involvement in and around a central character story

Developing the diagram highlighted for us the diverse ways the central character of Sackson was used to weave individual children’s stories into the ongoing storyline. The documentation showed that not all stories flow from or through the central character. It made clear that the central character is a catalyst for stimulating the flow of personal stories. With curiosity aroused about how, and in what ways children’s and family stories contribute to central character storylines, our next step was to track which children took leading roles at different times.

In term 2, 2007, the central character was Grandpa Sydney and our intention was to explore whether and how children became involved in central character story sessions in order to develop a teaching emerging theory about child involvement.

Insert 4.2: Involvement of children

Insert 4.2 summarises the story lines for each of the short sessions where central character story was used in term 2 2007. Kay recorded this information after each session. The dates of each story appear at the outside end of each line along with a code that tells us which child (boy (b) or girl (g)) acted as the central character that day.

The arrows to Grandpa Sydney remind the teachers of the main storyline of the day (for example, “visit the queen” was near Queen’s Birthday and brought in links with a child from England and cucumber sandwiches). This analysis makes it clear that the child around whom a story is woven is not necessarily the person who is acting as central character that day – in some cases one child may be a storyteller while another acts the central character.

Further analysis of our data showed us that all the children are involved in central character over time. We never focus on a particular child simply because it is time he or she took part or had a turn, rather we look for and find ways to involve all children over time.

Central character was used two or three times per week in 2007. We realise that we now use the technique more frequently because we understand more about its effectiveness and it has become even more embedded in our practice.

We found that all children can be involved in central character stories in various ways. We actively seek out stories for children who are a little reticent by talking with families and finding a story that will connect with them, for example, a child may be lent one of the kindergarten’s soft toy birds to take home so that he can tell us about “the toy’s adventures” later. Whilst Insert 4.2 captures evidence of all children’s involvement in the central character story as a whole and the experiences those stories stimulated, Insert 4.2 does not do justice to the extent of the involvement and the richness of what we observed and felt. Some of those things just cannot be put into words. This realisation of the power of the central character concept was affirming yet at the same time it exposed the complexities of trying to write about it in a way that would do justice to the story.

Investigation 3 – looking closely at patterns of involvement

Elaine wondered whether there was any pattern to children’s involvement – when they took on the role of a central character, did the more dominant take up the role, did the quieter children miss out? She took the data from Insert 4.2 together with the dates of entry for each child and drew a chart that showed when each child had entered the centre, how long they had been in the centre at any one time, and what parts they had played in Central Character story at various times. In this way of displaying data the dates of sessions appear on the horizontal axis and the length of time a child has been in the centre appears on the vertical axis. A child’s ‘timeline’ is a diagonal line that starts at the time she/he enters the morning sessions and ends at the time the child leaves for school. Each child’s activities were mapped onto the timeline. Within each session there were several entries: one child had been central character; the personal story of another child had been woven into the story that day; several other children had contributed their memories into the story line.

This analysis showed that children became involved in different ways, depending on their confidence, but all were involved. We noticed that the teachers were deliberately finding ways to involve quieter children. When Elaine showed this chart to the teachers we talked about particular patterns, like a gap in time where a particular child was not involved. Such gaps commonly occurred where a particular child had needs, perhaps related to self-confidence, that the teachers were aware of and working with. Some children, however, prefer to observe and take part from the sidelines rather than be in the limelight, and that is fine too.  

Investigation 4 – how our planning worked

Investigating where the central character stories came from and the ways different teachers and children worked with the central character led to the development of central character Storyline Planning Sheets. The planning sheets were used over two terms to compare our planned and actual storylines. They recorded the spontaneity and flexibility of teachers as they responded to the moment and the situation in front of them. Insert 4.3 gives an example of a planning sheet where the team deviated from what was planned. The intended storyline, shown on the left, was to follow children’s interest in rocks and to explore where limestone comes from. What actually happened, as described on the right was that a child had returned with Kakapo, one of the soft toy birds. The story about how Kakapo had got lost and was found again as part of a family game wove in with other stories to do with DOC (Department of Conservation). The example is important because it shows how we are able to adjust our planning as weave our stories. Now, we do not plan in writing – discussion is enough.

This work exposed our thinking and at the same time highlighted the creativity and passion that drives us in our teaching. We sparked off each other’s ideas, the energy and excitement we brought to the task and the multiple story lines that we generated.

The first draft of the Common Threads of Learning (p. 10 , above) developed from this investigation and has continued to evolve as our understanding of central character

Insert 4.3: An example of a planning sheet

 

Investigation 5 - looking closely at storylines

As the understanding of our innovation increased we began to recognise the complexity of the learning which comes together through central character stories. Insert 4.4 shows the stories which flowed into one central character storyline on one particular day along with all the stories which emerged from that central character story.

This diagram shows that even though any one storyline can appear very simple to a casual observer, it carries references to a rich assembly of experiences and stories that can only be understood by those who are living with and in the community of learners that is the kindergarten. It also shows that a story that appears very simple at the time will branch out and be referred to subtly, in many future stories. This weaving of the past into the present with an eye to the future is a key feature of central character story. The central character is a tool for weaving the personal stories from different children’s lives into a fabric that enables both individual and collective learning.

Insert 4.4: Things that led up to and followed on from one story incident. (23/2/07)

Insert 4.5: The hour-glass model shows that an incident within central character story draws on past events and contributes to future events.

Insert 4.5 is a stylised version of Insert 4.4. We refer to it as the hour-glass model. The hour-glass model reminds us of how difficult it is to track particular story lines, just as it is difficult to track learning of any sort. We weave our prior experiences into the understandings of the moment, and these in turn influence our future knowledge, learning and understanding.

Through the investigations illustrated in Inserts 4.1-5, we came to realise that the teachers are constantly communicating with each other and watching the children to find ways to foster involvement as learners. We have found that character story is not a tool for mere entertainment or keeping children on the mat; it is a strategy for fostering listening, commenting, sharing ideas, developing relationships and learning together. We have found that all children are involved in different ways at different times.

4.6 An investigation into terminology: theory, dispositions and working theories

Within this project we have delved deeply into our understandings of particular words. We have come to realise that our ideas are theories.

Early in the project we discussed with advisors at UC Plus (University of Canterbury Teacher Support Services) to explore ideas about “dispositions” in order to understand more about labelling and describing learning. We foster dispositions over time, but we do not describe children’s dispositions because complex actions are too subtle to be summarised in this way.

Late in our investigations we explored Te Whāriki’s use of the phrase “working theory” because we were trying to link the knowledge, skills and attitudes contained within a story to children developing their own working theories.

The outcomes of a curriculum are knowledge, skills and attitudes. These three aspects combine together to form a child’s ‘working theory” and help the child develop dispositions that encourage learning. (Te Whāriki, p. 44)

We found Te Whāriki’s explanation of a child’s working theories a stimulating way to describe our own understandings about teaching and learning around central character story.

Children develop working theories through observing, listening, doing, participating, discussing, and representing within activities provided in the programme. As children gain greater experience, knowledge, and skills, the theories they develop become more widely applicable and have more connecting links between them. Working theories become increasingly useful for making sense of their world, for giving the child control over what happens, for problem solving and for further learning. Many of these theories retain a magical and creative quality, and for many communities, theories about the world are infused with a spiritual dimension. (Te Whāriki, p. 44)

We found we had different understandings about what this meant. We realised we were talking past each other as words like ‘theory’ and ‘working theory’ were being understood differently. We developed our Wall of Strategies when we realised that we could not understand the detail of children’s learning theories. All we could do is to help children to build, explore and test out their ever-emerging theories and ideas.

Insert 4.6: Wall of Strategies For teaching: As teachers we see that the following strategies help us work with children and families to foster learning and learning dispositions for all. For learning: As learners we see the following strategies as tools that build knowledge, skill and theory and that need to be fostered in all learners. For everyone: We model these things through central character story and we expect that all of us, children, families and teachers will use these strategies.