Archive for December, 2009
The Lizard and the Sun / La lagartija y el sol
Wednesday, December 16th, 2009A Mexican Folktale in a Bilingual Format
RECOGNITION
Gold Medal, Folklore Category, NAPPA – National Parenting Publications Association
BOOK DESCRIPTION
Once, a long, long time ago, the sun disappeared from the sky. Everything was dark for many days. All the animals went to search for the sun in the rivers and lakes, through the fields and forests, but the sun was nowhere to be found. Little by little all the animals gave up, except for the faithful lizard. Finally one day she found a strange glowing rock and discovered the sun fast asleep. But no one could persuade the sun to wake up. Then the emperor organized a great feast, with the finest dancers and musicians, so the sun would wake up and never fall asleep again. Since that day, all lizards love to lie in the sun, to remember the day when one of their own brought light and warmth back to the world.
AUTHOR’S NOTE
What a gift to have had Felipe Dávalos create the art for this story! Felipe Dávalos is a great artist and also a learned scholar. As an archaeologist he knows a great deal about the time and setting of this story. And his wonderful illustrations reflect his art and his knowledge.
REVIEWS
School Library Journal
Kindergarten-Grade 3: A bilingual (English/Spanish) retelling of a Mexican folktale. When the sun does not appear for several days in a row, everyone becomes anxious. Various animals set off to look for it in such places as rivers, lakes, the jungle, and even in the cone of a volcano. After searching high and low, they give up, except for Lizard. Her faith and perseverance is rewarded when the celestial body is found sleeping under a rock. The story emphasizes the importance of the sun to all living creatures. The colorful double-page illustrations evoke the native culture by featuring characters in their decorated tunics and headdresses. In addition, the use of musical instruments such as drums reinforces Indian culture. Readers will cheer Lizard as she finds the Earth’s source of light and warmth. An excellent choice for storyhours. –Vianela Rivas, NYPL.
Kirkus Reviews
Ada (Mediopollito/Half-Chicken, 1995, etc.) elongates a Mexican folktale about a tenacious lizard who won’t stop looking for the sun when it disappears; Dávalos creates a series of half-lit, blue-toned spreads that evoke the world of the Aztec empire. A first-person introduction explains natural absences of the sun (behind the clouds, etc.), and prepares readers for a time, long ago, when the sun disappeared for no reason. Animals and birds search for it, and fail; only the lizard continues, finding a strangely glowing rock and rushing off to the city to tell the emperor. He tells her to move the rock, which she attempts, but the rock won’t budge–once more, she’s off to the city. The emperor comes to the rock with a woodpecker, and its beak splits the rock open, revealing a sleeping sun, who drowsily agrees to return to the sky if the emperor will provide the liveliest musicians and dancers. So the entertainment is arranged, and all ends well, with the inauguration of an annual feast. English and Spanish texts appear on each spread of this pleasant tale, diluted only by the several journeys of the lizard between rock and city, and the sun’s prolonged resistance to waking up. (Picture book/folklore. 5-8).
Center of Children’s Books
“Once in ancient Mexico, the sun disappeared. For days the anxious people wait for the sun to return, but it does not. When lizard discovers a rock lowing with an inner light, she tells the emperor and they awaken the sleeping sun; it returns to the sky, shedding light and warmth on all the earth. Ada retells this traditional tale with graceful language and read aloud rhythms, juxtaposing images of the tenacious, questing lizard against the darkness of jungle, marketplace, and palace. Dávalos paintings are rich with color and expression as the bright green lizard traverses the torchlit night in balanced compositions that spring to bright life with the discovery of the brilliant, sleeping sun. […]” (The Bulletin for the Center of Children’s books. October, 1997)
Bookpage
“[…] The Cuban-born author says she hopes the dual-language format will help awaken children’s interest in acquiring a second language, and certainly it should arouse their curiosity. Artist Felipe Dávalos, originally from Mexico, has created a colorful, exotic landscape full of pyramids, cacti and ancient Mexican sculpture and design. His illustrations beautifully capture the glowing changes as the sun shines once more. “The Lizard and the Sun” is a sumptuous introduction to the land of the Aztec and Maya.” (Bookpage. October, 1997)
The Reading Teacher
“[. . .] Felipe Dávalos’s stylized double-page illustrations complement the bilingual text handsomely. Cross-hatching and speckled backgrounds add shading and texture to artfully arranged compositions that echo the city’s pyramid shapes.” (Reading Teacher, September 1998)
School Library Journal
“A bilingual (English/Spanish) retelling of a Mexican folktale. When the sun does not appear for several days in a row, everyone becomes anxious. Various animals set off to look for it in such places as rivers, lakes, the jungle, and even in the cone of a volcano. After searching high and low, they give up, except for Lizard. Her faith and perseverance is rewarded when the celestial body is found sleeping under a rock. The story emphasizes the importance of the sun to all living creatures. The colorful double-page illustrations evoke the native culture by featuring characters in their decorated tunics and headdresses. In addition, the use of musical instruments such as drums reinforces Indian culture. Readers will cheer Lizard as she finds the earth’s source of light and warmth. An excellent choice for story hours.” (Vanesa Rivas, NYPL, School Library Journal, August, 1997)
Booklist
“Presented in both Spanish and English, this gentle traditional tale from Mexico shows how people working together can get the job done. When the sun disappears from the sky it is lizard who discovers “a rock that is shining as though it had a light inside.” Traveling to the distant city she tells the emperor who orders her to move it. But when is unable to, the emperor and the woodpecker help lizard release the reluctant sun trapped inside. The structure is different from many folktales, allowing more room for Ada’s eloquent voice. Dávalos sets the story during the time of the Aztec empire; his stylistically detailed artwork is initially veiled in midnight blue but erupts in golden yellow when the sun finally returns to the sky. According to the author’s note, Ada remembers this pourquoi story from an old reading text.” (Julie Corsaro, Booklist, December, 1997).
MINI LESSON TO PRESENT THIS BOOK:
THE LIZARD AND THE SUN
by Alma Flor Ada
The Story
This ancient legend takes place when the city of Tenochtitlán was one of the largest in the world. It tells how a little green lizard by not giving up was able to save the world from disappearing in the shadows. The outstanding illustrations by Felipe Dávalos allow us to participate in the daily life and the magnificence of the great Inca empire.
How This Book Was Created
The major civilizations of the Americas have been for me a constant source of admiration and pride. Among its many legends I was always fascinated by the lizard who would not give up, because it reflects so well an important saying that has guided my life, a sayings that has led Latinos searching for development: ¡Sí se puede! Yes, we can! I grew up in contact with nature and was always delighted by lizards, very abundant in my home land. As a young child I would collect their eggs and placed them on a planter, watching them for hours in the hope of seeing them hatch. The little lizards never came out during my watch, so I had to be content seeing the empty crumbled shells. It is a great joy for me that Maestro Felipe Dávalos would share in the creation of this story. Due to his background in archaeology and his deep knowledge of the period of this story, Felipe Dávalos was able to recreate this world both with great authenticity and artistic originality.
Themes, Concepts and Values
- life in the Aztec Empire
- the city of Tenochtitlán
- music
- perseverance or tenacity
- the importante of not living up
Vocabulary
- animals: jaguar, eagle, hare, deer, frog, toad, woodpecker
- places: pond, field, lake, jungle, mountain, volcano, desert
- concepts: empire, palace, throne, emperor
- values: constancy, perseverance, tenacity
Cultural Enrichment
The great city of Tenochtitlán, capital of the Inca Empire was one of the largest and most important cities of its time. Built over a lake it had ample bridges, beautiful palaces and magnificent temples. Much of the transportation was done with canoes. In its extraordinary market place one could find a great diversity of products, produce and handcrafted item. The Aztecs, like many of the indigenous people of the Americas, gave homage to the Sun and celebrate great festivities in its honor.
To Introduce The Book
If you turn off all lights and place several lighted candles, the students will be able to have an experience similar to the one described in the book. Later they will be able to discuss their experience and contrast it with those in the legend.
Previous Knowledge and Experiences
Talk about these contrasts. The students’ comments will vary. You may want to write them down.
- Light: Advantages = One can see
- Light: Disadvantages = One cannot see
- Darkness: Advantages = One can rest
- Darkness: Disadvantages = One may trip
Invite the students to share what they already know about the Aztec Empire. Here are some examples of possible answers. Write the ones the students offer.
Aztec Empire:
Where? Ancient México
When? In the XV Century
How? Daily life: They cultivated corn and cacao. Government: They had an emperor and several castes. Education: There was a school for young men, the “Calmecac.”
Encourage them also to share their ideas and feelings about the topic.
Creative Dialogue
These questions, or similar ones, will facilitate a true dialogue between the reader and the text. In this way the reading will not only enrich the students with new visions and ideas, but will allow them to recognize themselves as protagonists in their own lives.
Descriptive Phase. To facilitate comprehension of the text.
- Why were the persons worried when the sun disappeared?
- Which were some of the animals that search for the sun?
- Why did they give up?
Personal Interpretive Phase. To relate the text to personal experiences. These comparisons may validate personal experiences or enrich them, they can corroborate the text or compliment it.
- Have you ever faced a difficulty? Were you able to resolve it?
- Have you seen anyone solve a difficult problem? How?
- Do you know anyone who did not give up in the face of adversity?
- What in your life is so important you would never give it up or you will be persistent to preserve it?
Crítical/Multicultural Phase. To stimulate reflection against discrimination, racism, prejudism or inequality and in favor of social justice and peace.
- Do you believe it is important to not give up? Why?
- Do you believe Latinos have shown tenacity in this country? How?
Creative/Transformative Phase. To analyze the readers’ own reality, enriched and strengthened by the dialogue, in order to make decisions for future actions in pro of justice, equality and peace.
The sun gives light and warmth and permits life. What can you do to improve your own life? To improve your home environment?
The Sun gives joy. When the sun shines the birds sing and children play. What can you do to bring joy to others?
Literatura en acción:
LA LAGARTIJA Y EL SOL
por Alma Flor Ada
La historia
Esta antigua leyenda, que ocurre cuando la ciudad de Tenochtitlán era una de las más grandes del mundo, relata como una pequeña lagartija verde que no se dio por vencida logró salvar al mundo de desaparecer en la oscuridad. Las extraordinarias ilustraciones de Felipe Dávalos nos permiten participar de la vida diaria y de la magnificencia del gran imperio azteca.
Cómo se creó este libro
Las grandes civilizaciones de América son, para mí, constante motivo de admiración y orgullo. Entre sus muchas leyendas me fascinó siempre la de la lagartijita que no se dio por vencida, porque refleja tan bien el importante dicho popular que ha regido mi vida y que ha servido de lema a los hispánicos que buscan la superación: ¡Sí se puede!. Como crecí en contacto con la naturaleza, siempre me encantaron las lagartijas que son muy abundantes en mi tierra. De niña recogía sus huevecitos y los reunía en una maceta y los observaba por horas, soñando ver aparecer las lagartijitas. Pero jamás se decidieron a salir en mi presencia, y tenía que contentarme sólo con ver los cascaroncitos vacíos. Es una alegría inmensa para mí que el Maestro Felipe Dávalos compartiera la creación de este libro. Por su formación como arqueólogo y su profundo conocimiento de esta realidad, Felipe Dávalos pudo recrear este mundo con toda exactitud a la vez que con su usual genialidad artística.
Temas, conceptos y valores
- la vida en el Imperio azteca
- la ciudad de Tenochtitlán
- la música
- la perseverancia o tenacidad
- la importancia de no darse por vencido
Vocabulario
- animales: jaguar, águila, liebres, venados, ranas, sapos, pájaro carpintero
- lugares: prados, lagunas, charcos, selva, montañas, volcanes, desierto
- conceptos: imperio, palacio, trono, emperador
- valores: constancia, perseverancia, tenacidad
Enriquecimiento cultural
La gran ciudad de Tenochtitlán, capital del Imperio Azteca, era una de las mayores y más importantes ciudades de su tiempo. Construida sobre una laguna, tenía amplios puentes, hermosos palacios y templos extraordinarios. Mucha de la comunicación se hacía en canoas. En su enorme mercado se encontraba una gran diversidad de productos alimenticios y artesanales. Los aztecas, como muchos de los pueblos indígenas de América, rendían culto al sol y hacían grandes festividades en su honor.
Para presentar este libro
Si apaga todas las luces y coloca varias velas encendidas permitirá que los alumnos tengan una experiencia similar a la descrita en el libro. Luego podrán comparar sus experiencias.
Conocimientos y experiencias previas : Conversen sobre estos contrastes. Las respuestas variarán. Anótelas.
Contrastes:
- Luz: Utilidades = Se puede ver
- Luz: Desventajas = No se puede dormir
- Obscuridad: Utilidades = Permite descansar
- Obscuridad: Desventajas = Uno puede tropezarse
Invítelos a compartir lo que sepan sobre el imperio azteca. Aquí hay algunos ejemplos de respuestas posibles. Anote las que den los alumnos.
El imperio azteca:
¿Dónde? En el antiguo México
¿Cuándo? En el siglo XV
¿Cómo?
Vida diaria: Cultivaban el cacao
El gobierno: Tenían un emperador y distintas castas
La educación: Tenían una escuela para jóvenes llamada “El Calmecac”
Anímelos a expresar también sus ideas y sentimientos sobre el tema.
Diálogo Creador
Estas preguntas u otras similares facilitarán un verdadero diálogo entre el texto y el lector. Así la lectura no sólo enriquecerá a los niños con nuevas visiones e ideas, sino les ayudará a reconocerse a sí mismos como protagonistas de su propia vida.
Fase descriptiva — Para facilitar la comprensión de la lectura
- ¿Por qué estaban preocupadas las personas cuando el sol desapareció?
- ¿Cuáles fueran algunos de los animales que lo buscaron?
- ¿Por qué se dieron por vencidos?
Fase interpretativa personal — Para relacionar el texto a las experiencias personales. Estas comparaciones pueden validar las experiencias personales o enriquecerlas, pueden corrobar el texto o complementarlo.
- ¿Te has enfrentado alguna vez a un problema difícil? ¿Pudiste resolverlo?
- ¿Has visto a alguien resolver un problema difícil alguna vez? ¿Cómo lo hizo?
- ¿Conoces a alguien que no se da por vencido¿ ¿n qué ha perseverado esa persona?
Fase crítica/Multicultural — Para estimular la reflexión crítica en contra de la discriminación o los prejuicios y en favor de la justicia social y la paz.
- ¿Crees que la perseverancia es importante¿ ¿Por qué?
- ¿En qué forma crees que los hispánicos hemos perseverado en este país?
Fase creadora / transformadora – Para analizar al mundo real de los lectores, enriquecidos y fortalecidos y tomar determinaciones para acciones futuras en pro de la justicia, el bien y la paz.
El sol da luz y calor y permite la vida. ¿Qué puedes hacer tú para que tu vida sea mejor? ¿Para que el ambiente en tu casa sea mejor?
El sol da alegría. Cuando hay sol los pajaritos cantan y los niños juegan.¿Qué puedes hacer tú para alegrar a otros?
Lesson Plan
http://teacher.scholastic.com/writewit/mff/folktale_meetalma.htm
READERS’ RESPONSES
If you have enjoyed reading or sharing this book, I would very much like to hear from you. Please click here to send your comments.
The Kite
Wednesday, December 16th, 2009BOOK DESCRIPTION
Both good and bad events occur when a mother decides to make a kite for her four children. This disarming story provides a pattern that children can follow to create their own books. It is also a natural opportunity to discover that families come in different shapes and sizes, as the class explores how family traditions are passed on through generations.
One of the beloved titles of the series Stories the Year ‘Round, or in Spanish, Cuentos para todo el año. The complete stories of the series are:
SPRING
A Rose with Wings
A Surprise for Mother Rabbit
The Empty Piñata
PRIMAVERA
Rosa alada
La sorpresa de Mamá Coneja
La piñata vacía
SUMMER
How the Rainbow Came to Be
After the Storm
In the Cow’s Backyard
VERANO
Cómo nació el arco iris
Después de la tormenta
La hamaca de la vaca
FALL
The Kite
What Are Ghosts Afraid Of?
“Turkey for Thanksgiving?” “No, Thanks!”
OTOÑO
El papalote
El susto de los fantasmas
–¿Pavo para la Cena de Gracias? –No, gracias.
WINTER
The Golden Cage
I Don’t Want to Melt
It Wasn’t Me
INVIERNO
La jaula dorada
¡No quiero derretirme!
No fui yo
CDS AND CASSETTES DESCRIPTION
There is a special value to listening to a books read by the author. Such recordings show just where the author wishes to convey feelings and emotions, emphasis and suspense. When the text is put to music it acquires additional interest for children.
I particularly like to read aloud and to record my readings so, for me, it was particularly joyful to record these twelve stories in English and Spanish.
The stories can be found in individual cassettes in English and Spanish, one for each book of the series, or in CDs in English and Spanish versions. Each of the CDs contains the twelve stories of the series.
A Special Bonus
Because these stories have been so beloved by children, I conceived the idea of given them an extra dimension. I have rewritten the 12 stories in Spanish in verse format. And Suni Paz, with her incomparable creativity, has put them to music. So the Spanish cassettes and CD contain not only the story as published in the book told by me, but also the story retold in verse form and sang by Suni.
AUTHOR’S NOTE
This book is very much based on real experiences of my children’s early years. Kites were a very important part of my own childhood. The joy they brought began in the process of making them. My father was very clever with his hands and could make wonderful kites. Then came the fun of letting them soar in the sky.
I have written extensively about these memories in the book Barriletes, from the series Libros con Alma.
When my own children were growing up I wanted to give them the same joy I had derived from flying kites. But, alas!, I wasn’t as clever with my hands as my father had been. And building a kite was anything but easy for me!
The anecdote of being convinced by the children to bring home a stray cat did not happen in conjunction with flying kites, but it did happen. More than once.
The twelve books of this series are some of my best well known books among bilingual teachers and their students. They are also very dear to my heart since the inspiration for most of them comes from my own children’s childhood. I hope you will enjoy this book as much as the teachers who have shared with me their students’ enthusiasm. See An Author’s Study for an example of an activity in response to this book.
Image Gallery
ACTIVITIES
Print The Kite Coloring Page
READERS’ RESPONSES
If you have enjoyed reading or sharing this book, I would very much like to hear from you. Please click here to send your comments.
The Golden Cage
Wednesday, December 16th, 2009BOOK DESCRIPTION
A grandson’s desire to find the best gift for his grandmother results in an exploration of giving, love, and freedom. A good story for discussing extended families, as well as illness and disabilities.
One of the beloved titles of the series Stories the Year’ Round, or in Spanish, Cuentos para todo el año. The complete stories of the series are:
SPRING
A Rose with Wings
A Surprise for Mother Rabbit
The Empty Piñata
PRIMAVERA
Rosa alada
La sorpresa de Mamá Coneja
La piñata vacía
SUMMER
How the Rainbow Came to Be
After the Storm
In the Cow’s Backyard
VERANO
Cómo nació el arco iris
Después de la tormenta
La hamaca de la vaca
FALL
The Kite
What Are Ghosts Afraid Of?
“Turkey for Thanksgiving?” “No, Thanks!”
OTOÑO
El papalote
El susto de los fantasmas
–¿Pavo para la Cena de Gracias? –No, gracias.
WINTER
The Golden Cage
I Don’t Want to Melt
It Wasn’t Me
INVIERNO
La jaula dorada
¡No quiero derretirme!
No fui yo
CDS AND CASSETTES DESCRIPTION
There is a special value to listening to a books read by the author. Such recordings show just where the author wishes to convey feelings and emotions, emphasis and suspense. When the text is put to music it acquires additional interest for children.
I particularly like to read aloud and to record my readings so, for me, it was particularly joyful to record these twelve stories in English and Spanish.
The stories can be found in individual cassettes in English and Spanish, one for each book of the series, or in CDs in English and Spanish versions. Each of the CDs contains the twelve stories of the series.
A Special Bonus
Because these stories have been so beloved by children, I conceived the idea of given them an extra dimension. I have rewritten the 12 stories in Spanish in verse format. And Suni Paz, with her incomparable creativity, has put them to music. So the Spanish cassettes and CD contain not only the story as published in the book told by me, but also the story retold in verse form and sang by Suni.
AUTHOR’S NOTE
The twelve books of this series are some of my best well known books among bilingual teachers and their students. They are also very dear to my heart since the inspiration for most of them comes from my own children’s childhood.
Many moments of my children’s lives combined to inspire this book. They loved birds and over some time raised many birds. I have always felt great ambivalence about caged birds, because I love the birds, but I reject the idea of them being in a cage. And, then, at one time, when my aunt Virginia was spending some days at our home she made a very strong statement about having caged birds, and that gave us the energy to end up having birds in cages.
My children have always been very devoted to my mother, their grandmother, and thus it was very natural to use a grandson’s love for his grandmother as the pivotal theme in the story.
Image Gallery
READERS’ RESPONSES
If you have enjoyed reading or sharing this book, I would very much like to hear from you. Please click here to send your comments.
The Gold Coin
Wednesday, December 16th, 2009RECOGNITIONS
Christopher Award Medal
NCSS/CBC Notable Book in the Field of Social Studies
Pick of the Lists – American Book Sellers Association
Center for Latin American Studies, America’s Commended List
BOOK DESCRIPTION
This Christopher Medal winner has already become a classic. While it reads as a folktale it is an original story. Trying to steal Doña Josefa’s gold, Juan follows this generous curandera through the countryside. In the process, he is affected by the beauty of the natural world around him, the goodwill of the people who work the fields, and the spirit of the healer he is pursuing. Neil Waldman’s poetic watercolors sensitively convey the beauty and diversity of the Central American landscape, as well as the inner transformation that Juan undergoes.
CD DESCRIPTION
This CD contains the reading of both The Gold Coin and La moneda de oro. At the end of each reading I tell how the story came to be. Just as in recording some of my other favorite stories, Jordi’s Star, The Malachite Palace, and The Unicorn of the West it was a very meaningful experience for me to read aloud these books, to choose the music to accompany the reading, and to share after each recording the story of the creation of each book.
AUTHOR’S NOTE
This was my first book published in English by a major American publisher. I owe my daughter, Rosalma Zubizarreta, for the encouragement to pursue many publishers until one was willing to publish the story. Without her enthusiasm for this story, which she wanted to see in the hands of every child in the United States and her gentle support after each rejection, the book would probably had been published abroad, in Spanish, and probably never reach the wide audiences it has reached.
The story was born one night, while returning home to the San Francisco Bay Area, after working with migrant farm-working parents in the Watsonville-Salinas area. It appeared in front of my eyes, as if it were a movie, and I saw the characters acting and speaking the whole story. When I arrived home I jotted down the whole story before falling asleep. The next morning it all seemed like a dream, but the pages were there, with the full text.
It has been an immense joy that Rosalma’s wishes materialized, as the book has been included in most major reading series and in many reading lists. The letters I have received from children and adolescents about this book are very moving and I have enjoyed visiting many classes which had read the book where we have talked about our personal richness, and students have shown their understanding of true values.
Probably the most extraordinary experience in connection with this book was to attend the performance staged by Sylvia Dorta-Duque de Reyes (San Diego County Office of Education) of The Gold Coin performed by students in the main plaza of the Zapotec village of Teotitlán del Valle in Oaxaca.
REVIEWS
Publishers Weekly
An elderly woman, Dona Josefa, sits in her hut, holding a gold coin. “I must be the richest woman in the world,” she says to herself. But unbeknownst to her, a thief, Juan, crouches at her window, watching and listening. When Dona Josefa leaves, Juan ransacks the hut but fails to find her treasure. Tracking the woman across the countryside, he misses her again and again–coming instead upon many people who have been helped by her. And when the thief finally does catch up with her, he is surprised to find that he, too, has been touched by her simple goodness. Set in South America, this beautifully designed book features an unusual, rewarding fable and Waldman’s ( Nessa’s Fish ) lovely, stylized watercolors. It’s a rich collaboration, worthy of repeated readings. Ages 5-8.
School Library Journal
Kindergarten-Grade 3: Juan has been a thief for many years. He is pale and bent from creeping about at night, and that’s what he’s doing the night he peeks into Dona Josefa’s hut. She is holding a gold coin and says that she must be the richest woman in the world. Then and there, Juan determines to steal that coin, and any others she may have. It is a decision that changes Juan’s life forever. This gentle story of redemption, ably translated by Randall, is structurally at once cumulative and circular, and is ideally suited for memorization and telling. It will work well as a read-aloud, too. Waldman’s clean, pale watercolors have an art nouveau feel, and are large enough to be seen at story times. Whether told, read to a group, or shared one-on-one, the tale of Juan’s search for an old woman’s treasure makes an important point in a concise and satisfying manner. –Ann Welton, Univ. Child Development School, Seattle.
Hungry Mind Review
“The Gold Coin takes the integration of story and illustration to the level of fine art. With marks of a classic fable, this original tale by Alma Flor Ada describes the changes in a thief as he mistakenly pursues the golden treasure of a “curandera” or traditional healer. In graceful prose Ada presents a series of adventures, each ending with the gold just out of reach of the thief. The episodes proceed in a tension and release rhythm; gradually Juan the thief is transformed through kindness. “Later, when the little girl took him by the hand to show him a family of rabbits burrowed under a fallen tree, Juan’s face broke into a smile. It had been a long, long time since Juan had smiled.” Neil Waldman’s illustrations are magnificent. The text is printed on photographed watercolor paper, and each page is tinted in a rainbow wash. Strong graphic elements unite facing pages. Postage stamp-size drawings hint at the next part of the story. The full-page watercolor paintings gradually reveal more subtle facial features as the thief opens his heart to those around him. Of the four books [reviewed in this article] The Gold Coin exhibits the strongest unity of text and illustration, a synthesis equaled by few books of any genre. Each book however, gives us a view of life drawn from within the culture of la Raza. These authentic points of view will help increase awareness and appreciation of the beauty of the cultures at the heart of the Americas.” (Hungry Mind Review. Fall, 1991) .
School Library Journal
“[…] This gentle story of redemption, ably translated by Randall, is structurally at once cumulative and circular, and ideally suited for memorization and telling. It will work well as a read-aloud, too. Waldman’s clean, pale watercolors have an art nouveau feel, and are large enough to be seen at story times. Whether told, read to a group, or shared one-to-one the tale of Juan’s search for an old woman’s treasure makes an important point in a concise and satisfying manner.” –Ann Welton, Univ. Child Development School. Seattle, School Library Journal, April, 1991.
Kirkus Review
“Juan, a confirmed thief, overhears Doña Josefa referring to herself as “the richest person in the world”; moreover, he sees a gold coin in her hand. But before he can steal it, she hurries away with the two men, leaving nothing of value that he can find in her humble hut. Juan follows her trail, only to discover that she has always gone on another errand of mercy just before he arrives. The people she’s helped are willing to lead him to her –but each time there is work to be finished first, and Juan (hoping to hurry his guide) joins in. As he labors and shares food with these humble folk, Juan becomes healthier in body and mind; still, when he finally catches up with Doña Josefa, he demands her gold. She gives it to him freely –thus completing his moral transformation: he returns it as a gift for the next patient. Like a folk tale, this original story builds naturally to its satisfying conclusion; its long text should appeal well beyond the picture-book age. Waldman’s watercolors, with stylized forms displayed against varying backgrounds of romantic sunset hues, gently suggest both the story’s universal tone and its Latin American setting.” (Kirkus Review. January 1, 1991)
The Reading Teacher
“An unlikely friendship and a new perspective on life emerge in The Gold Coin, a picture book by Alma Flor Ada. […] Students laughed at the frustrated thief but were moved by the outcome of the story and the thief discovery that friendship is a greater treasure than gold. They spoke enthusiastically about Neil Waldman’s full-page, pastel illustrations. (The Reading Teacher. Vol. 47, No.1. September, 1993).
VOCABULARY ACTIVITY
Created by Sherylanne Wesley
Write the sentence from the book with the word in it so that you can see how the word is used in context. Then write the definition. Finally, create a sentence of your own using the word (at least 5 words in each sentence).
ransacked
amiably
vague
stifling
insistent
deserted
Image Gallery
READERS’ RESPONSES
If you have enjoyed reading or sharing this book, I would very much like to hear from you. Please click here to send your comments.
The Empty Piñata
Wednesday, December 16th, 2009BOOK DESCRIPTION
An empty piñata provides the occasion for this gentle tale of sharing, generosity and reciprocity. Elena spends all of her pocket money buying presents for others… How will her piñata get filled?
One of the beloved titles of the series Stories the Year’ Round, or in Spanish, Cuentos para todo el año. The complete stories of the series are:
SPRING
A Rose with Wings
A Surprise for Mother Rabbit
The Empty Piñata
PRIMAVERA
Rosa alada
La sorpresa de Mamá Coneja
La piñata vacía
SUMMER
How the Rainbow Came to Be
After the Storm
In the Cow’s Backyard
VERANO
Cómo nació el arco iris
Después de la tormenta
La hamaca de la vaca
FALL
The Kite
What Are Ghosts Afraid Of?
“Turkey for Thanksgiving?” “No, Thanks!”
OTOÑO
El papalote
El susto de los fantasmas
–¿Pavo para la Cena de Gracias? –No, gracias.
WINTER
The Golden Cage
I Don’t Want to Melt
It Wasn’t Me
INVIERNO
La jaula dorada
¡No quiero derretirme!
No fui yo
CDS AND CASSETTES DESCRIPTION
There is a special value to listening to a books read by the author. Such recordings show just where the author wishes to convey feelings and emotions, emphasis and suspense. When the text is put to music it acquires additional interest for children.
I particularly like to read aloud and to record my readings so, for me, it was particularly joyful to record these twelve stories in English and Spanish.
The stories can be found in individual cassettes in English and Spanish, one for each book of the series, or in CDs in English and Spanish versions. Each of the CDs contains the twelve stories of the series.
A Special Bonus
Because these stories have been so beloved by children, I conceived the idea of giving them an extra dimension. I have rewritten the 12 stories in Spanish in verse format. And Suni Paz, with her incomparable creativity, has put them to music. So the Spanish cassettes and CD contain not only the story as published in the book told by me, but also the story retold in verse form and sang by Suni.
AUTHOR’S NOTE
The twelve books of this series are some of my best well known books among bilingual teachers and their students. They are also very dear to my heart since the inspiration for most of them comes from my own children’s childhood.
The major source of inspiration for this book comes from my own children’s generosity. They were always ready not only to share but also to give away what they had.
They loved piñatas, which were not readily available then as they are now.
I had learned how to make piñatas from my mother, and made some for their birthdays when we lived in Perú, where the piñatas were a total novelty.
In California we were able to get them in the barrio. Once, because of Miguel’s love for birds I brought him a piñata in the form of a green parrot all the way from Mexico. He cherished it and kept it for a long time as a decoration in his room.
That piñata, which never held candy inside, but which held other valuable things, thoughts, feelings and dreams was the inspiration for this story of an empty piñata that gets filled thanks to the generosity of Elena.
I chose for the character the name of a very beloved teacher, my professor at the Universidad Complutense in Madrid, and dear friend, Elena Catena, a very small way of honoring a great woman.
Image Gallery
READERS’ RESPONSES
If you have enjoyed reading or sharing this book, I would very much like to hear from you. Please click here to send your comments.
The Christmas Tree/ El árbol de Navidad
Wednesday, December 16th, 2009BOOK DESCRIPTION
This delightful cumulative text, in both English and Spanish, radiates the joy of holiday traditions and the warmth of family love. An excellent book for emergent readers, which can easily be transformed into a simple play. Illustrated with powerful colors by Terry Ibáñez.
AUTHOR’S NOTE
Christmas was always a very special season of the year for me as a child, and later a wonderful time to share with my children and our large family. Some of the names of the characters in the story are names of real members of my family like my son Alfonso, and my wonderful aunt Mireya. For some real life information on our unusual Christmas celebration, you can look up “Christmas for All” (in Under the Royal Palms) “Navidades para todos” (en Bajo las palmas reales).
REVIEWS
School Library Journal
The meter and appealing rhyme scheme of the cumulative verses apparent in the Spanish text are missing in the English version. The simple story centers on a Christmas tree and the joy it brings to those who assemble to decorate it. Straightforward sentences describe, first in English, then in Spanish, one thing that each family member contributes to the tree. As each decoration is repeated, the refrain grows longer. “Look at the beautiful Christmas tree/with the bright candle/Grandma lit,/the candy cane/Grandpa hung,/the sleigh/Uncle Irineo painted,” etc. The artwork, done in acrylic paint on black paper, features deeply saturated background shades of red, orange, blue, green, and violet. The figures are portrayed in a primitive, folk-art style and the dark hues chosen for the backgrounds and festive, decorative borders give them depth and texture. A visually attractive addition especially for bilingual and Spanish-language collections.
Publishers Weekly
“One by one members of a family add decorations to their Christmas tree, and Ada’s cumulative text charts their offerings –from Grandma’s candle to Uncle Irineo’s painted sleight ornament. With a line of text in English followed by the line in rhyming Spanish, the quiet graceful narrative is complemented by Ybáñez’s folk-art style illustrations, rendered in acrylic on black paper. Simple borders start out incorporating a single visual element –candy cane, stars, a spring of evergreen –and grow gradually more intricate as additional ornaments are added.” (Publishers Weekly, October 1997).
School Library Journal
“[…] The simple story centers on a Christmas tree and the joy it brings to those who assemble to decorate it. Straightforward sentences describe, first in English, then in Spanish, one thing that each family member contributes to the tree. As each decoration is repeated the refrain grows longer. “Look at the beautiful Christmas tree / with the candy cane / Grandpa hung, / the sleigh / Uncle Irineo painted,” etc. The art work, done in acrylic paint on black paper, features deeply saturated background shades of red, orange, blue, green, and violet. The figures are portrayed in a primitive folk-art style and the dark hues chosen for the backgrounds and festive decorative borders give them depth and texture. A visually attractive addition especially for bilingual and Spanish-language collections.” (School Library Journal, November 1997).
READERS’ RESPONSES
If you have enjoyed reading or sharing this book, I would very much like to hear from you. Please click here to send your comments.
Tales Our Abuelitas Told
Tuesday, December 15th, 2009RECOGNITIONS
Literary Guild Medal
Kirkus Best Books, Kirkus Review
A Parent’s Choice Recommended Book
Best Books of the Year, Books for a Global Society SIG – American Library Association
Best Folklore in Best Books of the Year, Nick Jr. Magazine
Featured Book of the Month, Colorín Colorado Website, American Federation of Teachers
List of Best Books for 2006, New York Public Library
BOOK DESCRIPTION
Twelve stories from varied roots of Hispanic culture come together in a colorful collection that includes talking ants, magic bagpipes, dancing goats, and flying horses. In some cases the tales emphasize a moral, such as looking for the good in any bad situation as in “Catlina the Fox.” In others, the story illustrates the importance of friends, as in the case of “The Bird of One Thousand Colors.”
The authors seek to trace the origins of the stories through personal source notes, citing variants of the original story and the historical themes behind the tales. Of note is a tale of Juan Bobo that is included in this collection. Juan Bobo has entertained children and adults for more than five centuries with his antics and absent-mindedness. While Juan Bobo is well known by many, “The Bird of One Thousand Colors” is a story that Alma Flor Ada was unable to trace to an original source, although she remembers being told the story by her grandmother.
Throughout the collection, culturally accurate illustrations catch the eye with vivid colors and intricate details that convey aspect of the story. Each story leads naturally to the next, keeping alive the oral traditions of a rich culture that spans the continents
AUTHORS’ NOTE
Writing Tales Our Abuelitas Told was for me a way of honoring my extraordinary grandmother, Dolores Salvador, as well as and an expression of love and hope for my nine grandchildren, as I have expressed in my dedication. I am sure it means something very similar for Isabel, whose dedication is to her great-nephew Pablito. We are very grateful that these beloved tales are being so well received assuring that their continue to live for all children.
Traditional tales open our hearts to old voices and new worlds, to wondrous adventures and ever lasting feelings. Words like Había una vez or Érase que se era, hold for the listener or reader the magic promise of enchantment.
The stories retold Tales Our Abuelitas Told or, in the Spanish version Cuentos que contaban nuestras abuelas, reflect the diversity of our culture: some developed in Latin America from Indigenous roots, others had their origin in Africa or in various regions of Spain and go back to the Hebrew, Arabic or Basque traditions.
Their settings may be Mexico or the Southwest, Puerto Rico, Cuba or the Amazon among many others. They all keep children spell-bound. Stories like these enriched our childhood and left our imagination forever open to new discoveries, to the daring possibility of dreaming better worlds. Words like ¨happily ever after¨ got transformed into lives in search of understanding and compassion, lives devoted to promote access and equality for all, social justice, and peace.
Image Gallery
BOOK REVIEWS
School Library Journal
Grade 3 & Up: The introduction to this delightful collection explains clearly how stories develop and change over time; in fact, the two storytellers heard most of these amusing tales when they were children and have retold them many times since in their own unique styles. Each retelling is accompanied by a brief description of its origin. Included are tales about dancing goats, a turtle that outwits a deer, and a beetle that declares war on a cow; all of the selections are peppered with energetic dialogue and witty detail. Children will relish their humor, especially if read aloud, and teens will also enjoy this lively presentation. Traditional story beginnings and endings are provided in Spanish and translated into English, including one foreboding opening: In a land where you will go but from where you will never return. Four Latino artists provide an interesting variety of illustration. Featured images include a large goat head in a vegetable garden, a large farmer on a very small burro, and a wolf and fox all decked out in finery dancing together. The last page provides information about the authors and illustrators. Many libraries may already have Lucia M. Gonzalez’s Señor Cats Romance (Scholastic, 2001), but only one tale is common to both collections. Make room on your shelves for this excellent book.
Booklist
The long chatty notes are as interesting as the 12 folktales in this anthology of stories retold by Ada and Campoy and illustrated by well-known Latino artists. The authors celebrate Hispanic culture and its many roots–indigenous, African, Spanish, Arab, Hebrew–assembling tales from as far afield as Spain and Idaho, and showing how the tales have transformed and influenced one another, and even how Ada and Campoy have changed them. The folklore universals are here: the kid who defeats his mean older brothers; the huge monster routed by an ant; and more. In “Blancaflor,” the evil king’s daughter and the young prince fulfill three tasks together and prove the power of love. The spacious book design will work well for both independent reading and reading aloud, and each story is illustrated with one or more full-page pictures in styles that match the stories–from busy and filled to bursting to light and airy.
Children’s Literature: A six-page introduction welcomes readers and offers historical background into the ways that folktales originated and intermingled in all cultures. The twelve Hispanic tales actually have roots in many ancient traditions. The conversational tone continues into the retelling of the selected tales ranging in length from three to seventeen pages (including at least one full-page illustration for each). A few of the tales will seem somewhat familiar. “Dear Deer! Said the Turtle” is reminiscent of “The Tortoise and the Hare.” “The Castle of Chuchurumbe” has a rhythm similar to “The House That Jack Built.” Catalina the Fox could be related to Brer Rabbit. Other tales bring fresh, new perspectives. Pedro saves his family’s corn and, eventually, finds great happiness because he befriends a little horse of seven colors and follows its advice. A caliph and his son discover the source of true happiness in unexpected places. Research and explanatory notes follow each tale. Colorful illustrations capture the mood of the narrative, often contributing to understanding of the text and adding humor. The artists are given individual recognition in the table of contents. A listing of traditional folk tale beginnings is provided in both Spanish and English in the front of the book. A similar listing of endings appears in the back. The large-style format lends itself well to both individual reading and group sharing.
Reseñas/Book Reviews Berkeley Public Library
An illustrated collection of lively stories – reflecting elements of Spanish, Arabic, Celtic, African, Jewish, and Mexican roots – retold by the dynamic Ada and Campoy duo. The cuentos include several from Cuba, others from various regions of Spain such as Galicia and Andalusia. Also reflected is Spain’s diverse population: farmers in the North and Califs that once ruled the South of Spain. The selections hold universal appeal, employing themes common to many folklore collections. Accompanying the entries are captivating illustrations from four outstanding artists, each using his/her unique artistic style to capture the reader’s attention. The authors’ historical knowledge of the stories is evident in the notes that introduce this volume. With a few minor problems relating to the origination of the stories, this is a wonderful book.
COMMENDATIONS
Simon Brooks:
I have gone into the studio to begin recording what is most likely to be called “More Second-hand Tales.” I know, amazingly original, isn’t it? For those who saw me over this summer, you might remember me telling the story ‘The Goat from the Hills and Mountains.” This tale was new to me this year and I have fallen in love with it. It is based on an Hispanic tale I found in a marvelous book called TALES OUR ABUELITAS TOLD by F. Isabel Campoy and Alma Flor Ada, published by Atheneum. I could not find an original source for the story, or any other version of it, so I approached the authors for permission to continue telling the tale and also for permission to record it, on this soon-to-be-made second CD. After a few emails with both writers I have permission to continue to tell the story AND record my version of Alma Flor Ada’s version of this story which appears in the book. The book is wonderful, and there are many other great stories in there. If you are looking for a holiday gift to give someone this coming winter season, be it Christmas, Chanukah, Quanza, or any other holiday, or birthday even, then look this book over. It is not a ‘dry’ folklore book, but a book filled with the life and vitality which makes Hispanic stories so wonderful. It is also illustrated in a style that captures the tales in a unique way that kids love. I know this as we have a copy of it at my library. Many thanks to Isabel and Alma for graciously allowing me to take this tale and put it on my second CD.
BLOGS
Tales Our Abuelitas Told is a lovely collection of Hispanic folktales from many different cultures, written/retold by F. Isabel Campoy and Alma Flor Ada. Abuelitas is an endearment in Spanish for “grandmothers,” and these tales, full of life lessons, are told with the loving care of our grandmothers.
These stories have journeyed far — over mountains, deserts, and oceans — carried by wind, passed on to us by our ancestors. Now they have found their way to you.
A sly fox, a bird of a thousand colors, a magical set of bagpipes, and an audacious young girl … A mixture of popular tales and literary lore, this anthology celebrates Hispanic culture and its many roots — Indigenous, African, Hebrew, and Spanish.
In the introduction to the book, the authors explain the history of Hispanic folklore, which I found fascinating. Twelve tales are retold and beautifully illustrated, each one ending with a brief explanation of the different versions of the story and the authors’ connections to it. My favorite was “The Happy Man’s Tunic,” a story brought to Spain most likely by the Arabs. In the story, a caliph was too busy to spend time with his kind and loving son. When his son became ill, the caliph consulted many physicians. But when none of them could find the right cure, and he despaired, an old woman came to him and told him that all his son needed to get well was to wear the tunic of a man who is truly happy. The search was on, and a young shepherd was finally found who proved to be a truly happy man. The problem was…he didn’t own a tunic! It’s a fun story with an important message, but I won’t give it away here.
The authors also included a fun list of traditional beginnings and endings to stories told in Spanish, side by side with their English-language equivalents:
Había una vez…
En los tiempos e la abuela…
Hace mucho tiempo…
…y colorín colorado, este cuento se ha acabado.
Once upon a time…
In Grandmother’s time…
A long time ago…
…and, my many-colored feathered friend, now the story has found an end.
It’s exciting to find a book of folktales that is done so nicely. This is a lovely book, beautifully written and illustrated, and it would be a great addition to a family’s collection of folktales, and a wonderful book to use as a teaching tool in school for any age group. –Christine
READERS’ RESPONSES
If you have enjoyed reading or sharing this book, I would very much like to hear from you. Please click here to send your comments.
Serafina’s Birthday
Tuesday, December 15th, 2009BOOK DESCRIPTION
Sebastian has overslept and almost misses his train, his only way to get to his best friend Serafina’s birthday party. Although he manages to catch the train his misadventures are only beginning: on rushing to the station he has forgotten Serafina’s gift. Fortunately he has his wallet… but how good is a wallet when being Sunday, all the village stores are closed? Sebastian sets out to get a present, any present. But his efforts bear no fruit… he is chased by a cat, a bunch of squirrels and some angry crows.
Finally, defeated, he decides to show up for the party even if he is not bringing a gift.
Grandpa, the family storyteller, has a cold and has not made the party. When Sebastian sits down on Grandpa’s chair and begins to tell his adventures all the bunnies present are delighted. A birthday party without stories would not be a real party: Sebastian has indeed brought the best gift of all!
AUTHOR’S NOTE
This book was born out of a child’s request for a story. I was baby sitting Olmo, the grandson of my good friend Viví Escrivá whose beautiful art enhances so many of my books. We were in Viví’s country home in the beautiful town of Polop de la Marina, very close to the Mediterranean coast in the province of Alicante, Spain. Viví’s oldest daughter, Ana, had just arrived home with a beautiful bunny rabbit and Olmo was very taken by the bunny. When I offered Olmo to make a story just for him, trying to keep him close to me –quite a feat with Olmo as you can read in my Author’s Note to the book Olmo and the Blue Butterfly – he suggested the story should be about a bunny. I was about to begin a bunny story when he added: “and a train.”
Now, that was the magic clue, put together a bunny and a train and what does one get? The rabbit Sebastián who has problems being on time and almost looses the train on a most important day, Serafina’s birthday.
This was one of my first books published in the mainstream trade market in the United States and is such a source of joy. When the book went out of print –oh, how much damage an insensitive book review can cause! —I felt a great sense of loss. This had always been a favorite story to tell. It also was a favorite of my great-nephews, children of my sweet niece Marcie Fellers Pettit. She could never understand that the book would be kept from other children to enjoy as much as hers did.
Fortunately, a story can have many lives. Now Serafina’s Birthday or is available as a play in the book Roll-n-Role or as El cumpleaños de Serafina in Teatrín de don Crispín in the Gateways to the Sun or Puertas al sol theatre collection
READERS’ RESPONSES
If you have enjoyed reading or sharing this book, I would very much like to hear from you. Please click here to send your comments.
Saludos al público
Tuesday, December 15th, 2009BOOK DESCRIPTION
This theatre anthology includes five plays. Two original plays by F. Isabel Campoy: Busco un socio para mi negocio and Amistad, divino tesoro. The play Los dos hermanos is a dramatization of a traditional Jewish tale, by Alma Flor Ada and F. Isabel Campoy. La cena de tío tigre is a play by Clara Rosa Otero, based on a traditional folktale and La carrera del grillo y el caracol is a wonderful play in verse by Mireya Cueto.
The book also includes seven sections that will teach children about various aspects of the theatre, its history, the vocabulary related to the theatre, and will facilitate their involvement with different forms of staging a play: Para jugar a los títeres. Participantes en una representación teatral. Vocabulario propio del teatro. Vocabulario relacionado con los títeres. Cómo nació el teatro. Para jugar al teatro. Cómo montar tu propia obra.
USING THIS BOOK
The value of involving children with theatre are multiple. Plays can be an excellent tool for promoting the leadership skill of being able to speak in front of a group. Since they offer children the opportunity to utilize words and language registries they may not have other opportunity to use, plays can be strong vehicle for vocabulary and language development.
When used for choral reading plays can strengthen reading skills. In addition, acting in a play enhances children’s self-confidence and self-esteem while providing opportunities to learn about one’s self and others. Most importantly, putting on a play, no matter how simple, promotes the values of collaboration and solidarity.
To read more on the significance of theatre click here: Let’s Raise the Curtain! The Benefit of Theatre in the School and for suggestions on its use in the classroom read the section “Plays and Dramatic Games” in Chapter 3 of A Magical Encounter: Latino Children’s Literature in the Classroom and for dramatic responses to books, the section “Promoting Dramatic Expression” in Chapter 4 of that same book.
AUTHOR’S NOTE
Ensuring that children have access to read and act in plays has always been one of my basic concerns. Even if it is done with great simplicity acting in a play can have very positive results. It certainly was so for me. Encouraged by my extraordinary sixth grade teacher, Dra. Rosa María Peyrellade, I wrote my first play which we performed in class. As a high school student I wrote three plays, and while very simple, my classmates performed them with enthusiasm. We invited the High School Faculty of the Instituto de Camagüey to the premier of one of them, which I entitled La sonámbula or The Sleep-walker. Even though some of the professors did not enjoy the criticism to their very traditional pedagogy which was part of the performance, there was enough interested public that we rented the best theatre in town, el Teatro Principal to give a couple of public performances.
When I became a High School teacher at the Colegio Abraham Lincoln in Lima, Perú, I invited my students to do theatre and we had great fun doing so!
My mother, a coordinator for FLES [Foreign Language in the Elementary School] in Atlanta, Georgia, used theatre very effectively in the teaching of Spanish, and wrote a number of plays that were performed by children and broadcasted via the district TV station.
As a teacher educator in the United States I have continuously emphasized the use of theatre. I have had the privilege of having my mother co-direct with me three different performances of Historia de una muñeca abandonada, by Alfonso Sastre during three summer courses: at the University of Texas, at El Paso, in Philadelphia, and in Puerto Rico. I was later able to continue to invite teachers to perform this outstanding play, in Chicago, through the Associate Colleges of the Midwest, and in Madrid, both at the Universidad Complutense and at the Fundación José Ortega y Gasset. This play is included in the anthology Ensayo general in this collection.
I am convinced that one is better able to teach something one has enjoyed doing. And just as Isabel Campoy and I emphasize, in our courses in Authors in the Classroom, that teachers who create their own books will be better able to get their students to become authors, I believe that encouraging teachers to do theatre and experiencing the richness of the process would better allow them to incorporate plays in their regular teaching.
For a delightful anecdote that shows the magic of theatre click here: Let’s Raise the Curtain! The Benefit of Theatre in the School.
You can also find more about my personal experience with theatre in the section “It’s Play Time!” in Alma Flor Ada and You volume II, published by Libraries Unlimited.
ABOUT ¡CURTAINS UP! THE CIELO ABIERTO THEATRE COLLECTION
Each of the seven anthologies in this series offers a variety of plays well-suited for either reading aloud or for full-scale performance. For the early grades, Alma Flor Ada and F. Isabel Campoy have created original adaptations of traditional children’s stories. Familiar tales are retold in the form of plays, choral poems, and theatre games, inviting children to explore movement, characterization, and imaginative play. The use of traditional Hispanic folklore, woven into the dialogue, enhances the cultural setting in which the stories have been recast. For the older grades, a selection of the best plays written for children throughout the Spanish-speaking world has been carefully assembled.
The anthologies are:
- Primer acto [PreK-2] 48 pages
- Risas y aplausos [K-3] 48 pages
- Escenas y alegrías [1-4] 48 pages
- Actores y flores [3-6] 64 pages
- Ensayo general [4-7] 80 pages
- Saludos al público [5-8] 96 pages
- Acto final [5-8] 96 pages
Teachers have found the anthologies in this collection both inviting and inspiring.
READERS’ RESPONSES
If you have enjoyed reading or sharing this book, I would very much like to hear from you. Please click here to send your comments.
Risas y aplausos
Tuesday, December 15th, 2009BOOK DESCRIPTION
For this anthology Alma Flor Ada and F. Isabel Campoy transformed two traditional stories, the story of The Three Little Pigs and the tale of The rooster who went to his uncle’s wedding into the plays: “Los tres cerditos” and “El gallo de boda.” The third play of the book, “El sol,” is an original dramatization. It can be represented by one child, or by a whole class as a chorus. This last play is an invitation for children to imagine the qualities of the sun, as generous and life-giving, to begin to reflect on how they can also be like it and project love, kindness and caring through their actions.
The values of the use of involving children with theatre are multiple. Plays can be an excellent tool for promoting the ability to speak in front of a group, which is a leadership skill. Since they offer children the opportunity to utilize words and language registries they may not have other opportunity to use, plays can be strong vehicle for vocabulary and language development.
When used for choral reading plays can strengthen reading skills. In addition, acting in a play enhances children’s self-confidence and self-esteem while providing opportunities to learn about one’s self and others. Most importantly, putting out a play, no matter how simply, promotes the values of collaboration and solidarity.
To read more on the significance of theatre click here: Let’s Raise the Curtain! The Benefit of Theatre in the School and for suggestions on its use in the classroom read the section “Plays and Dramatic Games” in Chapter 3 of A Magical Encounter: Latino Children’s Literature in the Classroom and for dramatic responses to books, the section “Promoting Dramatic Expression” in Chapter 4 of that same book.
AUTHOR’S NOTE
Promoting that children have access to read and act plays has always been one of my basic concerns. Even if it is done with great simplicity acting in a play can have very positive results. It certainly was so for me. Encouraged by my extraordinary sixth grade teacher, Dra. Rosa María Peyrellade, I wrote my first play which we performed in class. As a high school student I wrote three plays, and while very simple my classmates performed them with enthusiasm. We invited the High School Faculty of the Instituto de Camagüey to the premier of one of them, which I entitled “La sonámbula” or “The Sleep-walker.” Even though some of the professors did not enjoy the criticism to their very traditional pedagogy which was part of the performance, there was enough interested public that we rented the best theatre in town, el Teatro Principal to give a couple of public functions.
When I became a High School teacher at the Colegio Abraham Lincoln in Lima, Perú, I invited my students to do theatre and we had great fun doing so!
My mother, a coordinator for FLES [Foreign Language in the Elementary School] in Atlanta, Georgia, used theatre very effectively in the teaching of Spanish, and wrote a number of plays that were performed by children and broadcasted via the district TV station.
As a teacher educator in the United States I have continuously emphasized the use of theatre. I have had the privilege of having my mother co-direct with me three different performances of Historia de una muñeca abandonada, by Alfonso Sastre during three summer courses: at the University of Texas, at El Paso, in Philadelphia, and in Puerto Rico. I was later able to continue to invite teachers to perform this outstanding play, in Chicago, through the Associate Colleges of the Midwest, and in Madrid, both at the Universidad Complutense and at the Fundación José Ortega y Gasset. [This play is included in this collection in the book Ensayo general]
I am convinced that one is better able to teach something one has enjoyed doing. And just as Isabel Campoy and I emphasize, in our courses of Authors in the Classroom, that teachers who create their own books will be better able to get their students to become authors, I believe that encouraging teachers to do theatre and experiencing the richness of the process would better allow them to incorporate plays in their regular teaching.
For a delightful anecdote that shows the magic of theatre click here: Let’s Raise the Curtain! The Benefit of Theatre in the School.
You can also find more about my personal experience with theatre in the section “It’s Play Time!” in Alma Flor Ada and You volume II, published by Libraries Unlimited.
ABOUT THE CIELO ABIERTO THEATRE COLLECTION
Each of the seven anthologies in this series offers a variety of plays well-suited for either reading aloud or for full-scale performance. For the early grades, Alma Flor Ada and F. Isabel Campoy have created original adaptations of traditional children’s stories. Familiar tales are retold in the form of plays, choral poems, and theatre games, inviting children to explore movement, characterization, and imaginative play. The use of traditional Hispanic folklore, woven into the dialogue, enhances the cultural setting in which the stories have been recast. For the older grades, a selection of the best plays written for children throughout the Spanish-speaking world has been carefully assembled.
The anthologies are:
- Primer acto [PreK-2] 48 pages
- Risas y aplausos [K-3] 48 pages
- Escenas y alegrías [1-4] 48 pages
- Actores y flores [3-6] 64 pages
- Ensayo general [4-7] 80 pages
- Saludos al público [5-8] 96 pages
- Acto final [5-8] 96 pages
Teachers have found the anthologies in this collection both inviting and inspiring.
READERS’ RESPONSES
If you have enjoyed reading or sharing this book, I would very much like to hear from you. Please click here to send your comments.
