Annotated Bibliography

Image by Hans Braxmeier from Pixabay

Ahn, J., & Filipenko, M. (2007). Narrative, imaginary play, art, and self: Intersecting worlds. Early Childhood Education Journal, 34(4), 279–289. https://web-a-ebscohost-com.ezjsrcc.vccs.edu:2443/ehost/pdfviewer/pdfviewer?vid=1&sid=57f0b22b-0168-4619-8b63-cbe8709891b0%40sessionmgr4007.

Ahn and Filipenko (2007) observed and documented a group of young children and their responses to a spontaneous group of narratives. The study centered on how the children were able to construct “meaning about their world and their place in it” (p. 279). There were three key takeaways from the study, which categorized the ways in which the children processed and interpreted the information in the narratives: engendering, crossing texts and re-configuration, and re-construction/ re-imagination. Each of these focus areas represented different components children use “in the process of forming a self-identity” (Ahn and Filipenko 2007, p. 279). The authors stress the long-term implications of developing that self-identity through narrative play by comparing children’s play methods to adult interactions in the real world. “Narrative not only provides a blueprint for making sense of the world; it also guides action within that word. In other words, while narrative is a mode of representation, it is, at the same time, a mode of action” (Ahn and Filipenko 2007, p.287). This study helps to identify the intrinsic value of narrative play in terms of developing social skills and self-awareness.

Aminimanesh, Azadeh, Ghazavi, Zohreh, & Mehrabi, Tayebeh. (2019). Effectiveness of the puppet show and storytelling methods on children's behavioral problems.

Iranian Journal of Nursing and Midwifery Research, 24(1), 61–65. https://doi.org/10.4103/ijnmr.IJNMR_115_15.

The authors of this article present a study conducted in 2014 which intended “to compare the effectiveness of puppet show and storytelling methods on BP’s [Behavioral Problems] among preschool children” (Aminimanesh et al., 2014, p.61). Aminimanesh et al. concluded that, aside from the overall success in reducing BP’s through puppet show storytelling, “Children’s passion for dolls and stories and active participation of children in storytelling and puppet shows have increased their attention” (Aminimanesh et al., 2014, p. 64). The article focuses on comparing the results to several other similar studies, all using and reinforcing the importance of child participation in creative play and storytelling to gain life skills.

Bungleboss. (2006). Tales From Fat Tulips Garden - Tortoise Who Climbed Mountains. YouTube. https://www.youtube.com/watch?v=GNwaGzOcGr4.

This video clip features an episode of Tales From Fat Tulip’s Garden, which demonstrates the power of imagination in creative storytelling.

Daley, A. (2002, January 01). Expanding the concept of literacy. Retrieved February 27, 2021, from https://library.educause.edu/resources/2002/1/expanding-the-concept-of-literacy.

Daley (2003) delves into the importance of acknowledging and embracing an updated definition of “literacy.” While the world of academia has traditionally viewed multimedia as a form of entertainment, and therefore not an academic discipline, Daley argues that contemporary education demands the acceptance and promotion of non-written texts as academic material. She claims that, while supporting linear argument, “Print deals inadequately with nonverbal modes of thought and nonlinear construction” (Daley, 2003). She also references the common vernacular used in discussion centered on multimedia studies, stating, “The very vocabulary of multimedia encourages approaches different from those used to write text. One “creates” and “constructs” media rather than writing it, and one “navigates” and “explores” media rather than reading it” (Daley, 2003). Daley’s insistence that multimedia be accepted as a form of literacy promotes the idea that important educational and communication experiences can and must be developed through a greater variety of media, including written text. This concept is analogous to the benefits derived from embracing and participating in analog storytelling methods, as it draws in multi-dimensional learning components, and straying away from linear teaching.

Eschner, K. (2017, March 21). Why Puppets (and Puppeteers) Are Still Important. Retrieved January 30, 2021, from https://www.smithsonianmag.com/smart-news/puppets-puppeteers-importart-180962529/

Eschner (2017) investigates the place for puppets in a world that seems to have left them behind. Master puppeteer and colleague of the late Jim Henson, Bob Flanagan, states, “puppetry itself is a complicated field that combines performance and technical skill with craftsmanship and humor.” Eschner (2017) further explains, “Puppets are also being explored as a way to help children: the charitable arm of Sesame Street is currently aiming to help refugee children use puppets to deal with trauma.” The role puppets play in helping children to connect with and process their world in a safe and comfortable way further demonstrates the value of analog-style storytelling methods.

Gallas, K. (2003). Imagination and literacy: A teacher’s search for the heart of learning. New York, NY: Teachers College Press.

Gallas (2003) addresses the significance of imagination in children’s literacy through creative play and storytelling. She summarizes the struggle educators face in measuring the effectiveness of imagination, stating, “We know intuitively that imagination is important, but it is difficult to describe how, when, and why it is important. We describe the ways in which teachers can support children’s imaginative work and use imagination as a teaching tool, but we do little to describe the workings of the process itself as it relates to our goals” (p. 4). Gallas elaborates on the evidence of imagination as a tool for success as well. “We have many firsthand accounts of the imaginative process at work in the lives of adults who have achieved fame and success in their respective fields… They speak about becoming an expert in a chosen field; about the process at work in generating important theoretical and experimental breakthroughs; about the connection between the inner world of perception, belief, and identity and the outer world of work and achievement” (p.5). Gallas investigates the usefulness of imaginative play in children’s abilities to conceptualize, process, and react to their world.

Kröger, T., & Nupponen, A. M. (2019). Puppet as a Pedagogical Tool: A Literature Review. International Electronic Journal of Elementary Education, 11(4), 393-401. https://doi-org.ezjsrcc.vccs.edu:2443/10.26822/iejee.2019450797

Kröger and Nupponen (2019) evaluate the potential usefulness of puppets in the classroom setting, identifying five major areas of purpose. “These potential uses include: (1) generating communication, (2) supporting a positive classroom climate, (3) enhancing creativity, (4) fostering co-operation in and integration into a group, and (5) changing attitudes” (p. 393). This review breaks down each area of purpose, outlining how the child is able to psychologically process and communicate information differently through or to puppets than they would through direct interaction with a teacher. Examples from the literature studied are cited as demonstrations of each of the benefits. While the content of the study is enlightening, I also was interested to find that “There is relatively little comprehensive research available in English to show the significant benefits of using puppets or puppetry in education” (p.393). The study tends to focus more on the child psychology and pedagogical elements of puppetry, but it does touch on the improvements in creative problem solving and critical thinking skills. Kröger and Nupponen mention, “ When teachers used puppets, they were more likely to ask open, thought-provoking questions, which created opportunities for the children to talk. The study contrasted this with conventional science lessons, which were more dominated by recall questions” (p. 395). I found this interesting as well, because it looks at the educational benefits in the teaching methods as well as in the children’s receptiveness to puppetry-enhanced learning.

Lisenbee, Peggy S, & Ford, Carol M. (2017). Engaging Students in Traditional and Digital Storytelling to Make Connections Between Pedagogy and Children’s Experiences. Early Childhood Education Journal, 46(1), 129–139. https://doi.org/10.1007/s10643-017-0846-x

Lisenbee and Ford (2017) stress the importance of a mix of traditional and digital storytelling methods to help children develop early literacy skills as well as learning relevant 21st-century skills. In order to highlight the benefits associated with implementation of both methods, Lisenbee and Ford (2017) note, “Both digital and traditional storytelling seemed to provide students with practice of the 21st-century skills of collaboration, problem-solving, critical thinking, and creativity” (p.136). Potential issues with traditional methods are also noted, such as, “A limitation associated with traditional storytelling is the perspective of early childhood students to crave digital tools so much that they perceive other types of activities as boring. It is vital that early childhood teachers find interactive and engaging traditional storytelling activities to use in their classrooms” (p.136). This article investigates the pros and cons of both methods of storytelling for diverse skill development in the early childhood classroom.

Mantilla, S. (2015, June 11). Giant puppets, giant undertaking: Paperhand puppet group lets folks help create papier-mché wonders. Retrieved December 08, 2020, from https://www.thetimesnews.com/article/20150614/Lifestyles/306149938

Mantilla (2015), a journalist for The Times News, describes the effective community-building methods used by Paper Hand Puppet Intervention, a puppetry and performance group based in Saxapahaw, North Carolina. The organization places a focus on bringing new and experienced artists together to work on papier-maché pieces that feature in their annual productions. Paper Hand studio assistant Meghan Dombrowski emphasizes the community role: “We’re big on fostering the art in community. We like to have involvement with everybody coming together to create a thing or be a part of something unique” (Mantilla, 2015). Paper Hand hosts workshop days where all are welcome to come participate in the making of puppets, even if they have no experience. One participant, Erin Belford of Hillsborough, stated her appreciation and enthusiasm for the workshop opportunities. “I dragged my daughters here about four years ago and after one day they were hooked and asked to come back just about every weekend” (as cited in Mantilla, 2015). Belford also states, “There’s something really amazing about seeing something that you created up on a stage in a giant production” (as cited in Mantilla, 2015). Her comments suggest that the positive hands-on learning environment fosters an interest in the creative process, further opening doors for future makers. While many may leave the workshops as a fond memory of a way some summer weekends were spent, others may become motivated to continue building relationships in the creative world, and developing creative problem-solving skills based on the skills developed.

Martin, T. (2015, August 17). Puppetry is Not Animation. Retrieved October 12, 2020, from https://www.awn.com/animationworld/puppetry-not-animation

Tess Martin (2015) urges art critics and consumers to separate puppetry from animation, as the two require different methods of production and portrayal. She discusses a personal experience at twenty years old, in which a live puppetry performance influenced her decisions as an artist in frame-by-frame animation techniques. “I had never seen inanimate objects brought to life this way, and I loved being able to see how it was happening- the mechanism was not hidden, but was instead a feature of the performance. I returned to art school and began making little puppets out of wire and paper and animating them one frame at a time under the camera” (2015). This personal testimonial helps outline the effect of live performance art on creative inspiration and an analog understanding of storytelling mechanics and methodologies.

Miller, F. (2016, October 10). How retro storytelling can help boost imaginative capacity. Retrieved October 27, 2020, from https://theconversation.com/how-retro-storytelling-can-help-boost-imaginative-capacity-63659

Miller (2016) comments on the impact retro styles of storytelling have in young children’s developing minds. She cites the renowned 1980’s British children’s program, “Tales From Fat Tulip’s Garden,” aired both on ITV and in Australia on the ABC. She notes the unusual, yet effective imaginative methods used in Fat Tulip, which did not involve any visuals or characters outside of actor and creator Tony Robinson and the cottage setting prevalent throughout the series. “In most children’s programs of that time, characters were either animated, puppet-based or clearly visible in other ways” (Miller, 2016). Miller believes that, “Creative analytical abilities will prepare them for a future where imaginative and innovative minds will separate humans from robots” (Miller, 2016). She concedes, “It seems performative storytelling is no longer in fashion commercially,” but emphasizes the intrinsic value of creative storytelling methods (Miller, 2016). In summary, Miller queries, “...whether the digital environments increasingly dominating their [children’s] lives act as a springboard or limit to the imagination” (Miller 2016).

Miller, F. (2021, Jan. 4) Personal Interview [email].

Miller (2021) explains her personal experiences with imaginative and creative storytelling as a method of processing her world at a young age. She references work on the film, “Imaginative Storytelling Experiences”, stating, “I feel that imagination development through performative or analog storytelling is becoming a lost art and hoped that by making this film it would reignite discussions and interest around the issue. Imagination - the ability to transcend your immediate culture and experience through empathy - is being neglected in both parenting and education, more so than creativity which is accepted as having immediate practical value.” As a summary of applicable skills developed through imaginative storytelling, Miller writes, “In my book about how to produce shared understanding - a key 21st century skill for the betterment and healing of our world in crisis - imagination underpins the moral, ethical, abstract and spiritual human development that can often be sidelined in favor of more pragmatic and commercial interests.” These insights help define the importance of imagination in early childhood, and how those experiences can later apply to more applicable real-world concepts.

Soth, A. (2019, August 8). Paper Theaters: The Home Entertainment of Yesteryear. Retrieved February 1, 2021, from https://daily.jstor.org/paper-theaters-the-home-entertainment-of-yesteryear/.

Soth (2019) sheds light on a popular, albeit brief, form of entertainment from the 1800s, which centered around the idea of bringing live theater into the home. Paper Theaters were printed images that came sold in a small book format, designed to be cut out and assembled into a stage, actors, props, and scenery for miniature self directed performances. The theater sets also came equipped with simplified scripts, based on current popular performances. Soth points out the impact these innovative products had on the children of the time:

Despite the scripts, it’s easy to imagine how these stories would have expanded in the hands of children who played with them- how the plots would zigzag, how the characters would migrate from one story to another, how scribbled additions would enrich the pre-drawn scenery (Soth 2019).

Soth (2019) references a few renowned storytellers of the era, and their own fond childhood recollections of the paper theaters, including Robert Louis Stevenson, Jean Cocteau, and Richard Wagner. Children were drawn to the open-ended creative freedom involved in their storytelling processes. Soth (2019) describes the allure, stating, “The magic of the paper theater was not that it allowed children to replicate a beloved play in their home; it was that it provided them with the raw materials either to copy or create, to follow or subvert, as they saw fit.” Soth’s article quickly and succinctly demonstrates the power of self-directed storytelling through miniature paper models as a doorway to creative exploration and development early on.

Stevens, C. (2016, October 10). Imaginative Storytelling Experiences. Retrieved October 27, 2020, from https://vimeo.com/170454013

This brief documentary highlights the importance of imaginative storytelling as illustrated by Sir Tony Robinson’s popular children’s television show, “Tales from Fat Tulip’s Garden.” The short film consists of a series of testimonials, including from creator Robinson himself, Robert Allen (solicitor), and Faye Miller, PhD (University Lecturer and Researcher in Information Science, Musician). Allen discusses the effectiveness of the show in developing his imagination skills, stating,

I think it was quite telling that when I watched the DVD for the first time after not seeing it for a few years, I was surprised that it was just Tony Robinson running around, because in my memory, the stories were so vivid I thought ‘There must have been some little frogs in it or some other people in it,’ but it was just Tony Robinson telling the stories, and I think that really captured my imagination (Stevens, 2016).

Robinson’s desire to inspire future generations’ creativity is evident. “ I certainly wanted to encourage children to be imaginative, without any doubt whatsoever. I also wanted to try- as an act of faith- to say to them, ‘Actually, you can make better movies than Spielberg… because you’ve got all those resources in your head. You just have to start- that’s all you have to do’” (Stevens, 2016). Miller also emphasizes the practical benefits of encouraging children to explore imaginative and creative storytelling. She explains, “this style of surrealist and absurdist storytelling was probably my earliest exposure to developing more logical thinking skills to piece unstructured information together in original ways, which I now use in my profession to develop theories in Social Science research” (Stevens, 2016). The film draws awareness to the numerous benefits, skills, and personality traits that are further developed through creative storytelling for young children.

Rugg, H. (2021, February 16). Personal interview [Zoom].

In a virtual interview conducted between myself and Heidi Rugg of Puppets off Broadstreet, I was able to gain some valuable insight into the role of puppetry, performance art, and storytelling through Rugg’s personal anecdotes and career as a puppeteer. Her personal stories of growing up in Hawai’i with her brother illustrated the imaginative play and creative storytelling experiences of two children without a television. Rugg described fond memories of original characters who would make routine ‘appearances’ in their playtime stories. She explained how spontaneous improv storytelling and puppet shows helped in raising her own children, and detailed how she followed an unorthodox education path to end up where she is now. Puppets off Broadstreet is currently a business without a physical location, but the organization works closely with other artists in residence, and caters to the community through school performances, educational programs, and recently, virtual programming as well.

White, B. (2020, December 4). Personal interview [Zoom].

I was able to conduct a virtual interview over Zoom with a good friend of mine, Ben White. Ben is a graduate of VCU, having completed an interdisciplinary double major in Mechanical Engineering and Entertainment Design and Technology. I wanted to speak with White about his experiences with creative storytelling using analog methods, and how those experiences have helped him in his career path. It should be noted that White is also an Instant Challenge Master and Challenger Writer with the global organization, Destination Imagination (DI). Destination Imagination, DI, as it is commonly known, is a creative problem-solving extracurricular, which provides teams of children and young adults with open-ended challenges ranging incorporating improvisation, planned and rehearsed performances, and technical skills. When asked about why he was drawn to the “why” and “how” of live performance, rather than just the end result, White stated, “It was like a secret that was going on that I wanted to be in on to see how it happened. It was kind of fun to watch it [the performance] over and over again, especially because it’s happening live in front of you. If it’s happening on a screen and you can do all sorts of CGI in it.. I mean, that’s cool, but you kind of know that a computer did it and it takes away the excitement of “Wow! That just happened right in front of me.” White also has a good deal of experience working in amusement parks, and has witnessed many live park performances multiple times. He was happy to elaborate on that as well. “They’re designed to be watched from a very particular point of view, standing a very particular way, and it was interesting to me to watch them and try to ‘break it,’ to figure things out. Like it was a puzzle, almost, to try to figure out.” When asked about the role of imaginative play in skill development in young children, White responded, “Working with imaginative play in young kids is kind of a “hook” to get them interested in what you’re doing. It’s a doorway or an opening where they can be interested in whatever area that they want to be. They’re in more control, and it’s not a prescribed, ‘this is what you’re going to do, and this is what you’re going to learn today.’ They’re learning exploration skills. I think there’s a level of commitment that comes with it, and ownership of what they’re learning.” He further elaborated, “I think that’s part of the value of it… that they’re [children] learning to investigate because it’s a source of motivation. They’re committed to their solution. They’re dedicated to what they’re trying to learn.”