The Power of Oral Culture in Education: Theorizing Proverbs, Idioms, and Folklore Tales 3031185366, 9783031185366

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The Power of Oral Culture in Education Theorizing Proverbs, Idioms, and Folklore Tales Edited by Ardavan Eizadirad · Njoki Nathani Wane

The Power of Oral Culture in Education

Ardavan Eizadirad  •  Njoki Nathani Wane Editors

The Power of Oral Culture in Education Theorizing Proverbs, Idioms, and Folklore Tales

Editors Ardavan Eizadirad Faculty of Education Wilfrid Laurier University Waterloo, ON, Canada

Njoki Nathani Wane Department of Social Justice Education University of Toronto Toronto, ON, Canada

ISBN 978-3-031-18536-6    ISBN 978-3-031-18537-3 (eBook) https://doi.org/10.1007/978-3-031-18537-3 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2023 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG. The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland

Foreword

Power of Oral Culture in Education: Theorizing Proverbs, Idioms, and Folklore Tales is a timely and relevant response to calls for anti-racist and anti-colonial approaches to education. It challenges hegemonic knowledge and coloniality in schooling that privilege one way of knowing and one truth, concepts that serve the interests and worldviews of the white, settler, imperialist, capitalist state. Legitimizing multiple and often silenced ways of knowing and being acknowledges the fluidity and diversity of global, interconnected knowledge systems, contexts, histories, politics, spiritualties, and onto-epistemologies. Through the power of oral culture, the editors and authors in this book open possibilities for dreaming different educational futures with beautiful pedagogical invitations that include pre and post activities and lesson plans. This book, while essential for pre-­ service and practicing educators, is also useful for families, community leaders, and people who engage with children and youth that are committed to centering the power of oral cultures. In following the editors’ path in Chap. 1, I intentionally refrain from citations and references to honor orality. When I consider the power of oral culture, I immediately remember stories, idioms, proverbs, and folklore tales I learned from my parents and grandparents, as well as elders, community leaders, and spiritual teachers. I remember sitting on the floor massaging my grandmother’s feet, while my grandfather would share stories about life in Zanzibar and growing up in India. These stories, filled with lessons and values of non-violence, spirituality, where we come from and who we are, gave me a sense of self, home, community, and belonging. I remember my father sharing “words of wisdom” that often centered v

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ideas from South Asian philosophers and eastern spiritualties that I simply did not have access to in school or society. I remember my mother sharing life lessons through idioms and proverbs that were often a mix of Hindi, Trinidadian Creole, and English, and often had an element of searing truth and honesty about the complicities, complexities, and failings of the human experience. These ideas gave me access to entirely different thought systems that helped me make sense of myself in this world and the language and concepts to speak back to ideas and injustices I was experiencing and noticing. I think about idioms I learned from community and spiritual leaders that often included lessons and learnings from the natural world, the more-than-human. These lessons come back to me, again and again, each time with a different resonance, a different meaning, and a deeper experience of embodied knowing. I also think about the power of poetry, chanting, and prayers that are central to so many cultures and transcend generations, geographies, and communities. They have taught me about the importance of the relationship between the speaker, the listener, and the space in-between that both suspends and expands time and space. In retrospect, this was necessary learning for me as a young person who often felt invisible in school and experienced the psychic split that many racialized and marginalized students face in schooling, resulting in the “Vidya” at school and the “Vidya” at home. This learning was far removed from what I was learning in school, yet so fundamental to my development as a young person. I often think about the ways in which students and educators are educated away from themselves through mechanisms of schooling that have very narrow conceptions of education. I think about the ways in which oral cultures share concepts and possibilities that invite us into ourselves and our experiences in ways that simply cannot be accessed in an English-only classroom that replicates the logics of power by privileging one way of knowing and one truth. Oral culture reconnects us to our families, our communities, our histories, ourselves. It opens up possibilities for radical connection and deep understanding when experiences, values, and ways of knowing and being are shared across cultures. These experiences allow us to laugh together, to question together, to illuminate together, and to reflect together in ways that a hyper-focus on the written word, which is privileged in white supremacy culture, does not make possible. From a spirit of fierce love, I also invite us to consider the limits of orality and oral culture, as an invitation to ongoing commitments to criticality, community, relationality, and justice. I invite us to remember that stories,

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folklore tales, proverbs, and idioms are not neutral. On the one hand, we want to honor the ways in which oral culture makes visible often invisible or silenced peoples, cultures, and knowledges. On the other hand, we must acknowledge the ways in which cis-hetero-patriarchy, settler colonialism, white supremacy, ableism, imperialism, capitalism, and other forms of oppression may be operating in and through how we story ourselves. I invite us to consider how we might make oral cultures and pedagogies more inclusive of, for example, deaf and hard-of-hearing communities, or how we might acknowledge silence as a form of orality and oral culture. I think about students who may not have access to stories, idioms, and folklore tales from their communities and cultures for various reasons, such as communities that have been forcibly removed from ancestral Indigenous ways of knowing and from stories of their lands because of various acts of political and psychological warfare. This includes survivors of residential schools in Canada, enslaved Africans, people fleeing war, and more. How might we expand our understandings and expressions of orality to be more inclusive? Finally, I consider the ways in which we are continuously making and remaking culture in every space we are in, given that culture is not static. Therefore, while we must acknowledge the power of timeless learning through oral culture, we must also make space for the co-creation of meaning and knowledge that becomes possible with every relation (human, land, waters, the more-than-human) and every new configuration of community. I have such deep gratitude for Dr. Ardavan Eizadirad and Dr. Njoki Wane whose commitment and vision in reclaiming the power of oral culture in education has resulted in this offering. I also have deep gratitude for the authors who share of themselves, their families, and communities globally, and offer pedagogical possibilities for oral culture. May this book invite us to divest from the ways in which we are storied by the white, settler, capitalist, imperialist gaze, and re/turn, re/story, re/claim, and re/ connect on our terms and with our voices, centered on our ever-evolving ways of knowing and being. Faculty of Education, York University Toronto, ON, Canada

Vidya Shah

Dedications and Acknowledgements

I dedicate this book to all elders who as knowledge keepers continue to pass on vital wisdom, life lessons, values, and cultural practices to next generations through oral culture and storytelling. Storytelling through proverbs, idioms, and folklore tales has been an instrumental tool in many cultures and it has tremendously contributed to my growth. I vividly remember stories my grandparents would tell me as a young child and all the proverbs and idioms my parents would use to teach me values and life lessons whether at the dinner table or after a teachable moment. I strive to pay it forward by centering and legitimizing  oral culture as part of my pedagogy and practice as an educator and a community activist. Ardavan Eizadirad I dedicate this work to my ancestors who have paved the way for us for many generations past and those to follow. Njoki Wane

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Contents

1 The  Power of Oral Culture in Education: Remembering, Documenting, and Revitalizing Oral Teachings  1 Ardavan Eizadirad and Njoki Wane Part I Identity: Knowing and Understanding Who You Are, Your Roots, Lineage, and Cultural Customs and Practices  17 2 “Mtu  Akikuita Mmbwa Usibweke”/When Someone Calls You A Dog, Don’t Bark Back! 19 Wairimu Njoroge 3 Stories and Counter-Stories 39 Rabia Khokhar 4 Strength  through Resistance: Drawing Critical Connections between Malalai of Maiwand and Malala Yousafzai to Counter Western Narratives of Muslim Girlhood 61 Zuhra Abawi

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5 Theorizing  the Power of African Oral Culture for Identity Formation 79 Osholene Oshobugie Upiomoh Part II Culture: Customs and Traditions with Symbolic Meanings Associated with a Particular Nation, People, or Social Group  95 6 ‘Soulful Listening’: Rumi’s Story of the Parrot and the Merchant 97 Soudeh Oladi 7 The  Persimmon Tree: A Japanese Rakugo Tale117 Cathy Miyata 8 Importance  of Proverbs in Caribbean Culture135 Natasha Burford and Lachmi Singh 9 Maintenance  of an Iranian Identity through Oral Culture and the Shahnameh: “The Shame Is Not In Asking, Shame Is In Not Knowing”147 Ardavan Eizadirad Part III Power: The Ability or Capacity to Influence Change Which Can Manifest in Different Ways Through Ideas, Individuals, or Institutions 163 10 Pedagogies  of Resistance in the Palestinian Folktales: Nus-Nsais165 Huda Salha 11 Nanny’s Dolly: Using Storytelling to Explore the Residential School Experience with Young Learners193 Jennifer M. Straub

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12 Remembering  a Goan Folktale in the Midst of a Global Pandemic211 Kimberly L. Todd 13 Teaching  and Learning from Our Elder’s Feet: Decolonizing Education Through Embu Proverbs229 Njoki Wane, Madrine G. Muruatetu, and Sein Sheila Kipusi Part IV Community: A Collective Group or Geographical Space That Attends to the Needs of Its Members with Love, Respect, and Reciprocity with a Unified Vision or Common Interests 249 14 Lessons  from the Legend of the No Face Doll: Haudenosaunee Origin251 Heather Watts 15 The  Story of Ni3mah: A Palestinian Folktale267 Aida Al-Thayabeh 16 The  Power of Service in Building Inclusive Communities279 Sheliza Jamal 17 Addressing  the Elephant in the Room289 Alysha Damji Index303

Notes on Contributors

Zuhra Abawi  is Assistant Professor of Education and program coordinator of the Masters of Educational Leadership program at Niagara University Ontario’s College of Education. She is the recipient of the 2022 Scholar Award by the Association for Independent Liberal Arts Colleges of Teacher Education. Prior to her faculty position, she was an elementary teacher and an early childhood educator. Her work focuses on the ways that discourses of race, equity, and identity are negotiated, mediated, and socialized in education. She is particularly interested in teacher hiring practices and is the author of two books: The Effectiveness of Educational Policy for Bias-Free Teacher Hiring: Critical Insights to Enhance Diversity in the Canadian Teacher Workforce and Equity as Praxis in Early Childhood Education and Care. Aida  Al-Thayabeh  (Ida Thibeh Wiese) is an Afro-Palestinian Muslim educator with WRDSB (Waterloo Region) in the elementary division in Ontario, Canada. She has been a community advocate for over 15 years, working passionately with racialized and marginalized children. Al-Thayabeh work in advocacy and research spans the Black, Palestinian, and global Indigenous communities. She holds an MEd and is completing her PhD in the Department of Social Justice Education at OISE, University of Toronto. Her research focuses on anti-Blackness in the Muslim and Arab region using a non-western lens and tools of analysis to explore the impact of white supremacy, imperialism, and colonialism. Natasha  Burford  is a union executive director in Toronto District 12. She has been teaching for over 15 years in the Toronto District School xv

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Board. She received her doctorate from the University of Toronto and she is a sessional lecturer at Ontario Institute for Studies in Education (OISE). She is also a community advocate and has worked on community projects throughout Toronto’s west end. She is the founder of In Brilliant Company, a tech-tutoring organization, and as of 2006 started a women’s mentoring organization. She is an educator, scholar, entrepreneur, mother of three amazing boys, wife, and learner. Alysha Damji  is a teacher in the Waterloo Region District School Board. She has taught in many contexts including Germany, United Kingdom, and Canada. For over 10 years, she has taught students from Grade 4 to Grade 12 and conducted workshops for university students on the themes of Islamophobia and anti-racist education. Although Damji was born and raised in Canada, her parents were not. In 1972, her parents had a lifechanging experience of fleeing Uganda and arriving in Canada as refugees. While listening to and learning from stories in Kutchi and Swahili, she navigated a system to learn English as her school’s first, Canadian-born English language learner. Since then, Alysha holds storytelling and the power of oral culture deeply in her heart. Ardavan Eizadirad  is Assistant Professor in the Faculty of Education at Wilfrid Laurier University in Waterloo, Ontario, Canada. He is the author of Decolonizing Educational Assessment: Ontario Elementary Students and the EQAO (2019), and co-editor of Equity as Praxis in Early Childhood Education and Care (2021), and Counternarratives of Pain and Suffering as Critical Pedagogy: Disrupting Oppression in Educational Contexts (2022). His research interests include equity, standardized testing, oral culture, community engagement, youth violence, anti-oppressive practices, critical pedagogy, social justice education, resistance, and decolonization. Eizadirad is also the founder and director of EDIcation Consulting (www.edication.org) offering equity, diversity, and inclusion training to organizations. Sheliza  Jamal  is a PhD Candidate in the Department of Social Justice Education at Ontario Institute for Studies in Education at the University of Toronto. She holds a Master of Education from Harvard University’s Graduate School of Education. Her doctoral research interests include race bias and racism in teacher education. As an educator for over 14 years, she uses theatre pedagogy to create awareness and embodied empathy on issues of social inequality. She is the founder and executive director of Curated Leadership Inc. (https://curatedleadership.com/), an organiza-

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tion that works with communities to provide training and development on fundamentals of equity, diversity, and inclusion. Rabia Khokhar  is a teacher with the Toronto District School Board and an education and equity consultant at Rabia Teaches. She is also a PhD student at the Ontario Institute of Studies in Education at the University of Toronto in the  Department of Curriculum, Teaching, and Learning. Khokhar is passionate about ensuring that schools are inclusive spaces where all students are reflected, represented, included. Khokhar is the recipient of the Elementary Teacher’s Federation of Ontario’s 2021 AntiRacist and Equity Activism Award. She enjoys sharing her teaching and learning on her twitter platform @Rabia_Khokhar1 and her website www. rabiakhokhar.com Madrine King’endo  Dean of Education and senior lecturer, University of Embu, has a Bachelor’s degree in Educational Sciences (2000) and Masters in Educational Psychology (2003) from the Pontifical University “Auxillium” Rome. Her doctorate in Special Education (2010) is from Kenyatta University. She visited the University of Toronto in 2017, Department of Psychology and Institute of Child Studies and schools in Ontario. She has written on children with behavior disorders and inclusion. She participates in school boards in Kenya. She is an external examiner at the University of Kwanzulu Natal and Moi University. Sein Kipusi  received her doctorate in Social Justice Education from the Ontario Institute for Studies in Education at the University of Toronto. Her doctoral work investigated financial literacy education amongst Black entrepreneurs in Toronto using anti-Black racism, anti-colonial, and African Indigenous knowledge frameworks. Her current postdoctoral research at the University of Toronto Scarborough Campus looks at the pilot Transitional Year Program focusing on the challenges and success of curriculum development, recruitment, and inclusive diversity. Cathy Miyata  has been a professional storyteller for over 35 years. She has facilitated hundreds of workshops and courses in storytelling to teachers, business people, storytellers, academics, children of all ages, public speakers, and therapists at universities, festivals, professional development sessions, and as a key note speaker. Her telling has brought her to Serbia, Mexico, the United States, Portugal, Sweden, Malaysia, across Canada, into many Indigenous Communities, and several visits to Egypt, Germany,

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and Japan. Miyata is also an award winning writer and an Assistant Professor of Literacy at Wilfrid Laurier University. Wairimu  Njoroge is an Indigenous-African Kikuyu woman. She holds undergraduate and graduate degrees in Social Work and is currently pursuing her PhD in African spirituality studies, journeying in the becoming of a humane-scholar and ultimately a healer. As a psychotherapist, Njoroge capitalizes on Indigenous African knowledges and wisdom, incorporating evidenced-based modalities in her interventions with individuals, families, and communities. Njoroge takes a holistic approach to wellness, centering people’s stories within the context of their ancestral and diverse collective histories  and collaboratively working to strengthen people’s sense of dignity. Njoroge is committed to therapeutic practices invested in restoration, healing, and recreation of dignified, meaningful, and sustainable living. Soudeh  Oladi is Assistant Professor (Teaching Stream) in the Social Justice Education Department at the University of Toronto’s Ontario Institute for the Studies in Education (OISE). Her work centers on immigrant schooling experiences in Canada, decolonial education, spirituality in education, and Rumi. Huda  Salha is a Palestinian Canadian multidisciplinary artist and researcher. Her work explores the historical, cultural, and psychological sense of place. She is intrigued by how identity and memory are interwoven with place through political and cultural boundaries. Her research investigates cultural production and oral histories as resistance and anti-colonial critical pedagogies. A PhD student at the  University of Toronto, Salha holds an MFA in Interdisciplinary Art Media and Design from OCAD University. She has received numerous awards and her artworks were published in online galleries, newspapers, and art books. Her short film, “It’s a Matter of a Phone Call” was screened at Toronto Palestine Film Festival and internationally. You can learn more about her work at: https://www.hudasalha.com/ Lachmi Singh  currently works at the University of Toronto and has over 18 years of experience working in higher education across undergraduate and graduate programs in the United Kingdom and Canada. Lachmi has a doctorate in law and her research expertise is in the areas of education, equity, diversity, inclusion. quality assurance, and program evaluation.

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Jennifer M. Straub  is an Assistant Professor in the Faculty of Education at Wilfrid Laurier University. She is a proud Métis and bilingual (French/ English) educator and researcher. She holds a PhD in Education Studies from the University of New Brunswick. Her research interests include teacher education and, more specifically, Social Studies, Citizenship, and Indigenous Education in Initial Teacher Education programs. Understanding how pre-service teachers develop as educators to improve student achievement in K-12 has always been at the root of her practice. Kimberly  L.  Todd  is a PhD Candidate in the Department of Social Justice Education at OISE, University of Toronto. Her research interests include education, decolonization, spirituality, dreaming, and teacher praxis. She was a part-time professor at Seneca College in the Department of English and Liberal Studies and is currently a teacher development manager at Teach For Canada. She is a certified Ontario Certified Teacher who has taught in South Korea, the United Arab Emirates, and in a First Nations community in North West Saskatchewan. She has also designed curricular resources for the David Suzuki Foundation and Amazon Watch. Osholene Oshobugie Upiomoh  is an African Indigenous educator, storyteller, cultural consultant, African Indigenous Homeschool Program Coordinator, the founder and Executive Director of Meritah Wisdom Education Center for Children and Families, and most significantly, an initiate of Meritah’s (Africa’s) Traditional Ancestral Education and Wisdom School of the Dogomba (Dogon) bloodline, where she learns at the feet of traditional African elders, network of priesthood, and kingship in Western Africa. As a traditional woman, Upiomoh writes stories that honor Africans’ Indigenous Ancestral lineage, culture, tradition, and ­spirituality. She is pursuing a PhD degree in Social Justice Education at OISE, University of Toronto. Njoki Wane  is Professor at the University of Toronto and the Chair in the Department of Social Justice Education at the Ontario Institute for Studies in Education (OISE). An accomplished educator and educational leader, she also served as the  Director  for the Center for Integrative Anti-Racism Studies (CIARS) at OISE from 2006 to 2014. She is a recognized scholar in the areas of Black feminisms in Canada and Africa, African Indigenous knowledges, anti-colonial, decolonizing educa-

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tion, and African women and spirituality. She has co-edited 14 books, 33 chapters, and 24 articles in refereed journals, and presented at over 300 conferences both locally and internationally. Heather  Watts  is Mohawk and Anishinaabe from Six Nations of the Grand River. Education has been a central part of her work over the past 10 years, graduating from various institutions including Syracuse University with a degree in Inclusive Education, Columbia University Teachers College with a degree in Literacy Coaching, the Harvard Graduate School of Education with a degree in Education Policy and Management, and working as an elementary school teacher. Watts is a doctoral student at the University of Toronto in the Social Justice Education program. Her research centers reconciliation and reclamation of Indigenous ways of knowing in modern-day education systems.

List of Figures

Fig. 10.1 “My grandmother was the best storyteller”, Illustration, 2022. Huda Salha Fig. 10.2 Who Am I? Where is Home? Acrylic on Canvas, 36” × 36”, 2018. Huda Salha (This work connects to the idea and the state of unbelonging in the new spaces, away from home; the feeling of being out of place; and the permanent status and label as refugee) Fig. 10.3 Migrating Bodies, Acrylic on Canvas, 36” × 36”, 2017. Huda Salha (Although displaced people move to a new place with their bodies, their minds and thoughts remain in their homeland. My family and I have always felt in exile and out of place. The bodies and identities belong to their specific place where they originated, and the notion of belonging is deeply rooted in the collective national identity) Fig. 10.4 From Within, Oil on Canvas, 40” × 28”, 2001. Huda Salha (A painting illustrating the theme that freedom comes from within. The oppressed should overcome their fears, resist, struggle and work toward their own liberation) Fig. 10.5 “That is how I imagined the ghoul,” Illustration, 2022. Huda Salha

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Fig. 10.6 These Are Not the Keys, Cast Bronze, Aluminum and Iron, Dimensions Variable, 2020. Huda Salha (Keys mark Palestinians’ forceful displacement from their homes in 1948. They are a symbol encapsulating the lost homes and homeland and everything left behind. Keys as artifacts are mnemonic devices connected to the displaced bodies. Consequently, keys are dominant in the Palestinian oral tradition)

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CHAPTER 1

The Power of Oral Culture in Education: Remembering, Documenting, and Revitalizing Oral Teachings Ardavan Eizadirad and Njoki Wane

Objectives • To create awareness about the importance and power of oral culture in education • To outline how oral culture and storytelling through proverbs, idioms, and folklore tales can be an effective educational tool • To discuss oral culture as a medium to engage students and to mitigate systemic barriers and inequities in education

A. Eizadirad (*) Wilfrid Laurier University, Waterloo, ON, Canada e-mail: [email protected] N. Wane University of Toronto, Toronto, ON, Canada e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_1

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Introduction This chapter discusses the importance of oral culture in education from theorizing to its applications in local communities and via daily interactions with others. By theorizing oral culture, the authors Ardavan Eizadirad and Njoki Wane, discuss its significance and impact as a universal language across generations and different geographies and spaces, particularly how it has helped maintain cultures, traditions, and languages through elders, the family unit, and other key figures in the community. With intentionality, the authors do not use any citations or references to honor and centre orality as a powerful medium for teaching and learning. Through a back-­ and-­forth dialogical conversation, Ardavan and Njoki discuss their identities, professional, and lived experiences with orality and how they have grown in different ways from exposure to a variety of proverbs, idioms, and folklore tales. The chapter concludes by outlining how oral culture can be used in education to engage students through storytelling and on a larger scale to address and take actions towards systemic inequities. The remainder of the chapter is a conversation between the two book co-editors, Ardavan Eizadirad and Njoki Wane, about their vision for the book and why such collection of works examining oral culture through the use of proverbs, idioms, and folklore takes across different countries and continents was much needed and overdue to demonstrate the power of oral culture in education and beyond. The conversation was recorded over a remote meeting and then transcribed and reviewed for accuracy. Yes, there may be some grammar errors throughout the conversations documented, but we have kept it to maintain the authenticity of the oral conversations that took place and show how the power of oral culture is more about its impact rather than its semantics associated with “proper” form of expressing ideas. The key questions posed to guide the discussions have been placed in italics to help the reader navigate the conversations. The subheadings throughout the chapter reflect the big ideas in the guiding questions.

Positionality and Lived Experiences of the Authors with Oral Culture and Storytelling Ardavan: So anything you want to share about yourself and tell us what is the importance and power of oral culture in your life given your identity and lived experiences.

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Njoki: Whenever I think of oral culture or anything to do with orality, I cannot help it, but what comes to mind is my upbringing in rural Kenya. My parents did not have straight conversations with us, but everything was framed around proverbs, or wise sayings or stories. We would sit around the fire when dinner was being made or around a fire outside on our homestead. My father used to have a pit fire and we would sit around it as he narrated or shared his experiences of the wars that he had participated in, especially the Second World War. At the end of each story, or experience, he would share with us what the lessons he learnt. With time, we had mastered his style of teaching, and we knew that at the end of his story-telling, he would ask us; What did we learn? His style of story-telling was full of examples. For instance, he would say: he did not just say, you children just sit there I’m going to tell you ABCD. He will normally say I’ll give you an example; then he would proceed in giving that example. He always had a talking stick that he would wave around when he was sharing his stories with us. That’s how my evenings were spent while growing up in rural Kenya. I still remember the various events like it was like yesterday. I’ll give you one example. We had been told by our parents never to go to the river because  of  crocodiles and currents. But many times we disobeyed. When we came home, instead of being spanked, my dad will say, OK, you know what you guys have done? And we would nod our heads. He would then say: By going to a river that is invested with a lot of crocodiles and river currents, you will either be eaten by the crocodiles or be swept away and you’ll be dead. I still remember those moments and the stories outside on our courtyard. I still see my mother in the kitchen cooking dinner using firewood and narrating stories. What these forms of teaching inculcated in me was the importance of listening. That was my life growing up in a village in Kenya. Ardavan: Great thank you for sharing. For me, you know, I was born in Iran and immigrated to Canada when I was in elementary school. But very similarly, uh, during social gatherings during educational or teachable moments my grandparents and my parents would use proverbs and idioms and sometimes folklore tales to really open the conversation, especially when it was about tough conversations. Those statements and the type of storytelling as the medium was so universal, you were able to understand. You wouldn’t take it personal and it was so common given the traditions and practices and what’s unique, and I’m sure very similar in Africa, as different parts of Iran have their own subcultures from mannerisms to traditions to even food and how they speak. These proverbs and idioms,

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they are universal and accepted by the various subcultures, and you know, at a time when you know the literacy rate was low, it was really foundational in maintaining teachings across generations, across spaces, and across communities. So for me I always remember them similar to you, having these conversations at home, on walks going from one place to another when I would walk with my parents and grandparents, and we’d have these deep conversations where either at the start, middle, or end it involved a proverb or an idiom. I think it has become part of many Iranian households who also have migrated all around the world. Oral culture has become a way to maintain who they are and connect to their roots. In the chapter I wrote, I talk about how you know, given the extensive history of the Persian empire, you know the stories were mixed with mythology and captured in a book called Shahnameh which helped maintain the Farsi language separate from Arabic. So I think oral cultures and traditions, because they are so accessible, become universal and it travels across continents and spaces and even though they have their, you know unique adaptations, the message is the same, and people of all ages from all walks of life, whether they have formal education or not, whether they’re elders or children, they can relate to it, and that’s the power of theorizing it, and in a way legitimizing it and centering it. Njoki: Wow, that’s so like my life. This goes on to show what I shared with you; I totally agree with you about the universality of proverbs, idioms and folk tales. This last Christmas my nanas came to my home and they all wanted to hear about stories about Africa, growing up in rural Kenya and I found myself asking them to sit around me; and to repeat aha while I was narrating the stories. They all did that and couldn’t wait for me to start my story. Hopefully one day I’ll take them so there is that notion that no matter where you are, you can use this system of oral teachings. At the end of each story, I asked them what they thought the meaning was. It was interesting to listen to their different opinions and interpretation of the stories or proverbs. I find that this form of teaching engages children and brings their minds to a particular focus, a particular centering of their mind, which is very important when it comes to the intellectual stimulation or cultivation of young children’s minds. Ardavan: Agreed! So I think it’s a good transition to the next question, which you’ve already started kind of discussing. Why is it important to theorize oral culture and particularly what is its importance in the education system, whether historically or when you think of social issues happening now?

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Significance of Theorizing Oral Culture: Disrupting Colonial Logic Njoki: When I think of theorizing, proverbs, and folklore tales, what comes to mind is the colonial logic. The colonial logic and its ideologies displaced our oral culture. There was no place for non-Eurocentric form of teaching and orality sort of challenged the status quo. Oral culture was viewed as a waste of time and had no place in formal education. Thinking about all this, I always wonder why I did not embrace orality sooner or more publicly. I do use stories while teaching, if for nothing else, to draw from something that is familiar to me. It legitimizes my own ways of knowing. It legitimizes my Indigenous ways of teaching and knowing. It’s a way of disrupting the colonial mindset. We have to be forceful in showing that, there are multiple ways of delivering education. This anthology gives us a chance to decenter the only way that has dominated our education system—Eurocentric paradigms. We cannot sit on the side and allow the erasure of other ways of knowing because of our silence. We would be allowing the erasure of teachings that had been passed to us from generation to generation. Ngũgı ̃ wa Thiong’o talks about it in his book Decolonizing the Mind (1986); has voiced over and over about the disconnect between the stories my parents would tell us in the evening and what we learnt in colonial schools. The colonial education drove to create a total colonial separation from our own reality, and we were supposed to consume that silently. We must reclaim and recenter our oral ways of knowing. That does not mean that we must dislodge the Eurocentric ways of knowing, not at all. Ardavan: I agree with everything you’ve said. I think theorizing oral culture centers its importance. We have been very intentional in the authors we have gathered for this collection to make sure we have representations from different continents and from different identities because it speaks to how people were impacted by oral culture universally. It also speaks to how authors felt rejuvenated reflecting on their interactions and learnings from oral culture and how retelling became a form of revitalizing. To be able to tell these stories and for it to come together across spaces and continents around the collective message of its importance reflects education as a community project. You know we commonly hear it takes a village to raise a child and within that community everyone has a role whether siblings, parents, coaches, or teachers. Centering orality is important to dismantle the hierarchy which we often see in traditional

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schooling and even at post-secondary institutions. The way the system is set up, where there is a big power imbalance rooted in inequities of policies and practices. With the oral culture, you know, everyone is there coming to the table with a growth mindset kind of going back to the stories I remember when I was young. I would love to hear scary stories from my grandmother and you know it was good but also it was so engaging. I would also then have a hard time sleeping, but I loved spending that time with her listening to the stories she shared. Thinking about centering oral culture in the academia, it’s a way of disrupting the hegemonic citational practices that have such a strong hold on what can be published and in what ways. For example, when I am writing various chapters for books, if I’m using a proverb, the publisher will ask me, well, this needs to be cited for its original use. But I try to push back and say, well, nobody owns the proverb’s right to citation because nobody knows its original source since it has been passed down through generations and generations. So I think that’s one example of why it is so important to center these oral knowledges and teachings: not in a way of claiming it as if someone owns it, but the importance of sharing it to continue its impact in a way that is valued and legitimized in the education system, not as a superficial add on, but within the official curriculum because it’s impactful and I think it also connects to maintaining and valuing different identities. For even myself when I came here to Canada, even though I still speak my first language of Farsi fluently, I struggle more when it comes to writing and reading it due to lack of exposure, and so oral culture through conversations at home with my parents and family members was a way for me to stay connected to my cultural heritage and roots. It was also a way to learn my family history, to want to go back home to Iran and visit the country and learn about spaces and places and lived experiences of people in the community. So I think oral culture is almost a tool as much as a pedagogy to keep people engaged and make education a community project. Njoki: I would like to add to what you have said; I still remember one particular song that, my grandmother and my own mother sang to me while growing up. I sang to my children and now my own daughter sings to her children. The song had teachings about how to deal with an enemy; friends and how to be obedient. I was surprised when one of my grandchildren asked me to sing it to her. The songs which I learned before as a young child growing up, I still remember and unknowingly, I’ve passed them on to my children; who have passed them to their children.

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Ardavan: Those are great examples! I think it speaks to the next question that explores how is oral culture passed and shared intergenerationally.

Oral Culture and Storytelling as a Medium and Tool for Relationship-Building Intergenerationally Ardavan: For me, I see it influencing us in many ways. As you mentioned, even through lullabies. I also see it in music. We see it in many traditions where we have folklore dancing and singing. We have folklore ceremony which you know many elders and knowledge keepers are involved with. For example, every time my dad, who’s away from his home country of Iran, when he gets homesick he watches films in Farsi language and listens to folklore music. When he sees or hears cultural references to places or food or dance relating to his community in Iran, it gives him a boost of energy. It’s food for the soul, uh, even with food. I mean food is a big component of Iranian culture, and so I think a lot of these conversations and sharing of teachings happen over food when people come over or they host events. The elders playing a key role with the sharing of teaching through oral culture is common across many continents where people go to elders for their advice and insights. It’s a form of respect to tap into their lived experiences. But you know in the Western hemisphere lived experiences is not as valued. Maybe perhaps a little bit more in this, you know, quote unquote woke culture, but still you could see the binary and superiority affiliated with quantitative versus qualitative research, even in educational institutions we work in such as universities. Lastly, I think… Njoki: Before you go to the next question… Ardavan: No, go ahead. We’re on the same one. Njoki: Ohhh ok. Go ahead then finish. Ardavan: I think lastly oral culture is a tool for relationship building. That’s how I see it. It allows relationships to grow. When you think of your positive experiences with a meaningful teacher, a caring adult or a coach, a lot of times it was the oral conversations that initiated and maintained that relationship. So I think the beauty of oral culture is it allows for you to make relationships and it’s very similar to when you travel to a new country or a new community you listen and learn and you ask questions and through that oral sharing, particularly even if you don’t know the

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language, you’re able to kind of figure it out and put things together to contribute to your knowledge and insights gained. Njoki: The question of maintaining and passing down oral culture intergenerationally; is done in such a way that, we do not even know it is being done. The example I provided above is a proof of this point. Yes, I never thought my children or paid attention when they were growing up about the songs I would sing while cooking or doing other work around the house. I remember one of my children saying to me how I would tell them a proverb when they had done something I was not happy with. You can clearly see; how generationally this information is passed on which I believe is critical to the maintenance of a culture. What we are doing by writing this book is showing that you cannot forget its importance. This is something that each family should cultivate in their home. I hope this book will be reawakening to not those who have contributed to the book but others who will read it or use it in their own classroom! We are awakening a discourse that we should never forget oral culture. Even if you don’t have young children find a way of telling stories. The notion of remembering and not forgetting relates to learning who you are, as you have articulated it so clearly you know as an Iranian. It’s the same thing with me as a Kenyan, how I’m a Kenyan from a particular group of people. It’s what makes me who I am as a Black woman in this continent in this point in time and in the academia. Ardavan: Beautiful and so powerful! As you said, it’s a form of revitalizing who we are in a way where people are not ashamed of their culture and ways of life including traditions and ceremony, but in a way that they’re proud and willing to teach others about it through oral culture and sharing. That’s what it means to center it! Oral culture has touched every corner of the world due to migration and displacement, sometimes you know due to tragic events and systemic oppression, but everybody for example has heard the saying don’t judge a book by its cover. We don’t know who said that originally, but that’s something someone at some point in their life is gonna hear as part of a teachable moment. I think this is a good segue to our next question and we’ve kind of talked about it a little bit, but we’re gonna discuss it even more by relating it to current events. The question is why is oral culture important and how can it be used to tackle current social issues and inequities in education?

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Power of Oral Culture in Mitigating Systemic Inequities in Education Njoki: Researching education, the inequities in education can be very exhausting. I would like to emphasize, after highlighting the inequities in our education, we should move to the next step of sharing about the cultures from around the world. If I’m sharing something from the continent of Africa and you’re sharing something from the Iranian culture, and when we compare notes there are similarities in that, then why can’t we do the same thing with education? Why can’t the mainstream listen to the voices from other cultures in the world? What are they masking? We need to ask those questions. Because if they’re willing to unmask, then they can actually benefit from the richness of it especially here in Canada. If we gave equal value to the knowledges coming from every corner of our world. However, there has to be people who are willing to listen and willing to do the work to shift the ways education is delivered in our classrooms. I think that’s where the problem is, unwillingness to change. Yes we have all the answers to create a just world. The solutions are there, but I think the current makeup of education, the current makeup of how education is delivered, how education is theorized unless there is a way of going back to the drawing board, there will always be inequities within the educational system. Ardavan: I agree! I think the root cause of many of the systemic inequities in education and outside of it is the intersection of power, privilege, and profit. I call it the three P’s, and when they intersect it often leads to inequitable power relations and inaccessibility to opportunities where identities from equity deserving groups are disadvantaged. Because at times even though racialized and minoritized identities work twice or ten times as hard, they can’t get access to certain opportunities and that’s a major problem. Connecting what we are discussing to some of key influential scholars is important both within and outside of Canada. I think of, you know, Kimberly Crenshaw and the concept of intersectionality. I think of Gloria Ladson Billings and the importance of socio-culturally relevant and responsive pedagogies and teachings. bell hooks and teaching for community and rest in peace to her who died recently. And more recently, the works of Django Paris around culturally sustaining pedagogies; we want to teach social culturally relevant skills like learning the English and French language in Canada but if it’s at the expense of forgetting your cultural roots and home language, then the process is harmful and

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detrimental. So we have to look for ways to sustain who we are and help others and ourselves heal from the traumas and oppressions we experience, historically and currently in new forms and modalities. Oral culture is the platform and the tool that can facilitate that. It allows listening. It allows learning through storytelling and growing as a community. It allows to move away from looking or judging others from a colonial deficit lens, of grading learners as a A,B,C,D letter grade or product, and instead meet them as an educator wherever they are at. It is about meeting learners where they are at holistically and helping them progress and grow. And that means recognizing and reinforcing that success is different for everybody depending on who they are and where they come from, but the goal is to get better and continue to grow. It’s about having a growth mindset and I think yourself [Njoki Wane], you know, Carl James, George Dei you have been pioneers in the Canadian context for having these important discussions and advocating to disrupt the colonial logic. Through your work, advocacy, scholarship, and teachings you’ve made students feel valued and seen. We know many students from equity deserving groups don’t feel valued, where they constantly experience microaggressions in meetings and classrooms. So when they are seen, when they’re able to have someone who speaks their language who understands their lived experiences, who listens and ask questions instead of making assumptions from a deficit lens, it is powerful. That’s when education becomes engaging, empowering, inclusive, and people commit to advocacy and activism as part of the teaching and learning process. Connecting these ideas to residential schools we see how cultural genocide impedes the transfer of culture, language, and traditions from one generation to the next. Fear and confusion are created leading to self-hate and internalized oppression in the next generation. Some people stop being proud of who they are and their roots and instead internalize stereotypical representations of who they are due to accepting colonial logic. I know for example, many people in Iran who have nose surgeries due to having long noses. Similar to many other people in different cultures, they are trying to alter their physical look because of the media representations affiliated with stereotypical thinking and hegemonic discourses of what is ideal beauty often associated with Eurocentric ideals of being white and skinny. Oral culture allows people to accept who they are, to question the metanarratives that are told about the way they should look and behave, and facilitates people finding their own voice and power within their histories, cultures, languages, and traditions.

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Njoki: You know Ardavan, remembering is so important. I keep going back to my parents teachings: they always emphasized the importance of listening with your heart. You know when somebody says, listen with your heart, people often make a joke out of it. They say how do I listen with my heart. I listen with my ear. But my parents would always say, when you listen with your heart, you will always remember everything. You will grow up to be a better person. Listening with your heart evokes your emotions, and you pay more attention. Without telling us, what they were doing, my parents were planting seeds of being fair and considerate about others. I’ll never forget that. Another thing that they emphasized was; seeing with closed eyes. They explained that when you can see with your closed eyes then you truly feel and see what is happening. They said when you can see with your closed eyes, you’ll be able to cross a river. Again, teaching the centrality of a connected mind, body, and soul in relation to the land. My parents also talked about ceremonies and elements of ceremonies, not necessarily telling us to take part in a ceremony, but their importance in cleansing the body, the earth, and the community. My parents always emphasized a form of cleansing. I was surprised to see sage and tobacco used by Indigenous communities and people in North America. I grew up with that, again showing the global universality of some of the Indigenous ways of knowing or Indigenous tools of cleansing. Ardavan: When you said to listen with your heart it reminded me of a saying that I constantly heard growing up: you have two ears and one mouth, so you should listen more than you talk. That always reminded me of, you know, the importance of listening. Listening is an art in and of itself, a skill that we try to teach our students to master. Before we go to our last question to wrap up, I want to emphasize a few things about this chapter, how it is written, as well as the vision for the book. With intentionality we are not citing anybody for this chapter to disrupt citational practices rooted in colonial logic, and that was important to both of us. Also, the reason why we decided to have a standardized lesson plan for the various authors to come up with in activity is to be very intentional with how we can use these stories to capture and share oral culture. We want everyone including parents, elders, youth, and all other community members from all walks of life to bring these stories to life in their households and communities. I’m sure there are other unique stories that can further be mentioned and shared. This body of work and collection of proverbs, idioms, and folklore tales is just the tip of the iceberg and the starting point. We hope we can add and contribute many many more to further

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legitimize and center oral culture in all aspects of life, not just in education and schools, but even in the justice system, the health care system, the sports, and everywhere else because it can be such an impactful medium and a tool to engage folks and grow as a community. OK, the last question is what is the… Njoki: Before we go on, it is important for us to indicate that there will be no citations for this chapter. It is our intention to not cite other people who have written on orality.; because we are centering narration and storytelling as a pedagogy. Teaching through proverb and storytelling is powerful. For example, if you’re building a house and the nail breaks, do you change the building or the nail? Another proverb, if your only tool is a hammer, you always see every problem as a nail. I cannot tell the origin of those two proverbs so if somebody says you need to provide a citation, it’s a very Eurocentric way of legitimatizing ideas and their origins. Centering oral culture is a form of decolonizing. It is decolonizing the way writing is done and giving power to oral traditions, which is very central to our education, and should be emphasized in every grade within our educational system. Ardavan: Agreed! As part of decolonial praxis we want to disrupt and dismantle hegemonic practices in schools and across different institutions. So our last question is what is the interconnection between cultures, traditions, languages and ways of life through storytelling and its sharing and listening aspect? How do you see oral culture interconnecting with aspects of traditions, languages, and way of life?

The Interconnection of Oral Culture in Maintaining Traditions, Languages, and Ways of Life Njoki: When you think of storytelling or using a proverb, you’re connecting to culture. You’re using particular type of languages in telling those stories. Also, you are indicating that storytelling is not something that is separate from culture or separate from traditions. It’s part of who we are as a people and what it tells us: that you cannot separate culture because you use language to pass on culture. You cannot separate traditions because you use language to pass on your traditions. You cannot separate them from their universal teachings. The only way you can do that is by cultivating a particular language or way of talking to pass on

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knowledge and traditions. This is something that is intricate in its weavings. And at the end of it, oral culture is often about telling a story. A story that transmits culture. A story that transmits a particular tradition and a story that pushes the listeners to pay attention and have deep listening skills. You know, when I talk about deep listening it does not necessarily mean that I must listen to you deeply. It means you have to listen deeply to your thoughts. You must listen deeply to your emotions. You must listen deeply to what your body is telling you. You have to listen deeply as a teacher, and you have to listen deeply as you observe students in your classroom to see their emotions and body language. They do not have to tell you anything. You must listen deeply to what they are transmitting to you when you’re standing in front of a class. Unfortunately. when we think of deep listening within the Western concept, we think of sitting quietly and listening. We are not telling or showing the audience how deep listening can be observed such as through facial expressions of students. Ardavan: Thanks for sharing. I think there is a deep connection between oral culture and spirituality. In Western hemisphere mental health is talked about a lot, particularly recently with the impact of COVID-19, but I don’t think spirituality is talked about enough. Many people confuse the two together as the same thing, but you know, spirituality has many intricacies and complexities that connect with religion in relation to sacredness, ceremony, and beliefs of higher powers. I am reminded of the acts of praying across many religions that involve ceremony and reciting of important oral words that have been documented in holy books such as the Quran. You also have the tradition of ceremony where in many cultures through ceremonies people enter adulthood or parenthood. Those ceremonies have traditionally been honored within different cultures and religions intergenerationally. Through ceremonies you learn values, ethics, and you learn about yourself in terms of expectations and future goals. I also think we cannot talk about oral culture without talking about the importance of documenting it and how writing comes in because they are interconnected. Through writing which was minimal prior to the invention of the printing press or emails, people had to write everything by hand or share messages orally across regions. So I do think it is a big deal to capture, share, and document more oral culture and their teachings to remember and revitalize them within various institutions including education. It also speaks to the importance of how platforms for storytelling have evolved over time. New digital platforms like Facebook, Instagram,

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and Twitter allow people to tell their story even though it’s not like the traditional way. It allows people to have a greater reach of who hears their stories and in what ways it is accessible. People are now in a position of being their own storytellers. Even  the concept of fake news is affiliated with how you tell news and what is emphasized and what are the facts. It’s a form of storytelling where people want to conduct fact checks to validate aspects of what is shared and how accurate it is. Overall, I think new digital platforms are allowing people to tell stories more and more in authentic ways, instead of other telling their stories on their behalf. As communications and storytelling becomes more accessible, it becomes easier to gather people to document the power of oral culture across different communities. This is why we wanted to create a collective book around theorizing orality including folklores tales, proverbs, idioms, and stories. We are being very intentional in how this can be passed on and continue to grow because we want our children and great grandchildren to value these lessons. We don’t want these universal teachings to be lost in translation from one generation to the next. Njoki: Excellent points! Before we conclude, I want to say something about sacredness of relationship. I do remember my parents always emphasizing the sacredness of or keeping relationships sacred in terms of paying attention to the adults and the elders. They indicated that the elders within the community, while not necessarily your biological elders, were the fabric of relationships. That was engrained in us such as when you see an elder carrying something pick it up and help them out of respect. Let’s say another elder comes into your home, rush and get them a chair. You don’t have to ask them what you like to drink like the way we do it here in Western culture. You rush inside the house to get them a glass of water or get them some food if there is food and let them say no, they do not want to eat. There was that, you know, cultivation of a very deep relationship between the children and the elders within the community. I also keep telling my children that the worst thing they can do is put me in an elderly care home. It will be a big mistake because they’ll be shutting the door to my sharing knowledge that I have which could be passed on to their grandchildren. If they put me in a retirement home, they are not acknowledging the sacredness of relationships between the elders and their grandchildren. Ardavan: Great points. What you have mentioned also reminds me of intergenerational memory as a form of knowledge. Intergenerational memory is so important when we think about people trying to learn about

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their family histories based on who is still alive and where they are located across the world given their family tree. You have many people using technology, particularly genetics data from saliva, to find out their family genealogy and its roots. My last word would be that oral culture is the glue that keeps traditional ceremonies, languages, and ways of life together. I think our goal as part of co-editing this book is to make sure the glue doesn’t lose its stickiness. Matter of fact, we hope the collection in this book contributes to the glue of oral culture gaining more stickiness where it continues to get passed down generations to everyone who comes across these stories, proverbs, idioms and their universal teachings. We hope documenting and sharing of such oral cultures has a ripple effect that keeps on giving through storytelling. I’ll pass it on to you as the elder to have the final word. Njoki: The only thing I can say Ardavan is Asante Sana. Asante Sana is; thank you very much in Kiswahili for the teachings from you, because it’s always both ways. I’ve learned a lot from you and whether people know it or not, you are the original person who came up with this idea for the book and I want to honor you for that. I also want to honor you for pushing, for insisting, and saying we need to document this, and we need to finish this project. I want to honor you because it’s very important. I acknowledge you for your determination, for contributing to keeping oral culture alive. Asante Sana again. Ardavan: Thank you so much. It’s a labour of love and you know the love and respect is mutual. I’ve learned so much from you from being a Master’s student to now. Above all, I see you beyond an academic colleague. I see you as a friend. I think the strength of our friendship is rooted in seeing teaching and learning in relationships and the impact of the work with and for the community. Njoki: Thank you so much.

PART I

Identity: Knowing and Understanding Who You Are, Your Roots, Lineage, and Cultural Customs and Practices

CHAPTER 2

“Mtu Akikuita Mmbwa Usibweke”/When Someone Calls You A Dog, Don’t Bark Back! Wairimu Njoroge

Objectives • To create a culturally affirming and healing tool where African students can utilise their cultural knowledges and wisdom to develop overall positive identity and sense of self, to enhance their overall child-­appropriate development and academic success, as they navigate anti-African/Black experiences within the Canadian public education system. • To provide educators and other practitioners in contact with African students with knowledge on the impact of African-centered identity formation to the overall African student’s development, sense of self and learning outcomes, to ensure that their varied professional interventions are culturally relevant and affirming to the African students’ wholistic being.

W. Njoroge (*) University of Toronto, Toronto, ON, Canada e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_2

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Introduction Leaning on my first-hand exposure to Indigenous African culture and wisdom, I observe that there exist classic features of Indigenous African knowledges and wisdom, most striking is the use of personification, which is the attribution of human character to the nonhuman beings, things, or phenomenon. Additionally, there exists versatility in use; fluidity/flexibility in meaning making among users and receivers of this knowledges and wisdom; complementarity in meaning from other similar or varied sources of African knowledges and wisdom; and an emphasis on purposefulness/ usefulness of the embedded lesson(s) in supporting the improvement of human conditions (Dei, 2008). It therefore should not come as a surprise that the above Kiswahili proverb complements/is complemented by other African proverbs/idioms/folklore stories, translates or offers a different meaning and hence significance to another. Furthermore, each knowledge and wisdom bestowed upon a learner/receiver carries with it an all-­ inclusive responsibility (Wane, 2002). This explains why I will be purposeful in this chapter in focusing on the theme of identity, to support students of African descent (and their parents) who suffer emotionally, and subsequently, materially in varied capacities, from historical consequences of systemic and systematic violence within the Canadian public education system. Purposefully, I shall draw on my mother’s original intent in her use of the proverb with me, first as a counter-narrative of resistance to subvert the imagined self by the Other and most importantly to cultivate an empowered sense of authentic and dignifying sense of self. For, to me Wairimu, an Indigenous African woman journeying in her Becoming of a Healer; to be called a dog by the Other is undeniably very traumatic. However, to bark back, to the Other’s call of me/you ‘a dog’ is the real tragedy! This is because, it has been acknowledged in Indigenous African cultures (as evidenced in our carefulness to name a child), similarly in the understandings of human psychology that the more frequently a child hears a particular name/narrative of self by the Other, the easier it is: to be normalized in their growing minds; internalized in their big hearts; familiarized in their large spirit; and worst off embodied by their whole being. Hence, it should not be surprising to see students of African descent across various ages unknowingly and unintentionally identify with an imposed dehumanizing identity that dishonors them and equally their ancestry, since an individual’s African identity is within the we; as denoted by the

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African philosophy—I am Because We Are (Olagoke, 1997). Thus, behaviours such as poor and/or false self-image, self-harming, violence upon one’s loved ones and others, and overall unhealthy social life choices is simply anger-turned-inward, (Angelou, 2014). Talk of livingproof aggregate of the hazardous adverse impact of intergenerational trauma of the disconnect from one’s authentic and dignifying identity. Sadly, this is a common tale of children of African-descent born and raised in the western hemisphere, the belly of anti-African/Black racism, especially those in the Canadian public education system. Given my area of professional specialization within the Canadian mental health sector, I am constantly in contact with such students, their parents, educators, and other practitioners they engage with. Therefore, building on my professional skills and in accordance with the objective of this book in exploring the interconnectedness between culture, traditions, language, and way of life through oral storytelling, sharing, and listening, I will customize the above proverb to use it as a tool of empowerment for students of African descent across various ages  struggling with systemic experiences of oppression within the Canadian public education system. This will be within the context of the impact on their emotional/mental health, as it relates to their internalized negative sense of self. Furthermore, this tool is also intended to be a useful educational resource to educators and other practitioners who may be in contact with the above students, to facilitate culturally sensitive insights, to ensure their varied professional interventions are culturally relevant and affirming to the student’s ancestral, historical, and current realities. For like every other child, an African girl and boy has equal human right to “kujichagulia/self-determination-to define [them]selves, name [them]selves, create for [them]selves and speak for [them]selves”. This is in accordance with the Nguzo Saba/The Seven Principles of Kwanzaa—the seven basic core values of African culture that contribute to building and reinforcing family, community, and culture among people of African descent across the world (Karenga, n.d.).

Locating Self At my birth, I was named Waı ̃rı ̃mu, also spelled as Wairimu in Kiswahili— similarly in other many Bantu dialects. In harmony with the re-birth naming system of my people, I am named after my beloved mother’s eldest sister. Hence, I am both my mother’s daughter and eldest sister. Wa-irimu, which stands for daughter of a monster in my dialect, positively signifies

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strength and agility. In our tribal tale, I am one of the nine daughters of Mũmbi (Mumbi which means Creator in varied Bantu dialects), who was betrothed to her man Gı ̃kũyũ/Kikuyu by our supreme God Ngaı ̃/Ngai. Together, they forever live under the Mũgũmũ/Mugumo tree (fig tree) in Mount Kenya at a place called Mũkũrwe wa Gathaga, in present day Mũrang’a/Murang’a county; where my family still lives (Kenyan Facts in History, 2013). I am therefore proudly a clan mother, together with my eight sisters namely: Wanjiru ̃; Wambũi; Wanjikũ; Wangũi; Wangeci; Wanjeeri; Nyambura; and Wangarı ̃. As a female unit, we make-up the nine clans of our people-the Agı ̃kũyũ/Agikuyu also known as the Kikuyu, a term derived from the Kiswahili language (Kenyan Facts in History, 2013). Notwithstanding that my ethnicity locates me in the East African highlands of central Kenya, my ‘village home’ where I frequented throughout my childhood to date and where I am well anchored culturally, I was born and raised in a tropical island and city called Mombasa that is situated along the east coast of Kenya by the “Indian ocean”. This is where my beloved mother and I developed fluency in the Kiswahili language, living among the Kiswahili-speaking natives, also known as the Waswahili people. Consequently, my identity has always been that of both an insider and outsider as a Kikuyu and Kiswahili-speaking and cultured African woman (Humphrey, 2007). This ‘city and village home’ dichotomy is a common reality among many sub-Saharan African households likes mine, a consequence of colonial realities that gave birth to the push and pulls of economics. Not surprising, ‘city life/home’ is often filled with vibrant youth energy by colonial design, as the locale for educational and career development. On the other hand, the ‘village life/home’ is what we consider our “retirement homeland”—a place to return to one’s specific ethnic and ancestral land to “retire” and ‘re-join their ancestors’/die with dignity. I am therefore a classic product of the above dual cultural realities that shape my keenness to issues of identity, which both inspire and explain how I arrived at this conversational space—thanks to my mother’s high level of proficiency in both cultures, and hence dialects. Conversations and contestations around issues of authenticity of identity in Kenya were (and continue to be) based on the aftermath of colonial history of ethnic divisions, which I freely navigated and with utmost fluidity and joy, having been raised to be multi-cultured and lingual as I stated above. For instance, I have come to embrace being labelled “mkikuyu wa Mombasa”/a Kikuyu from Mombasa, whenever I speak my dialect to my tribe mates, a statement generally considered an insult in covert/hidden

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form by others, as it speaks to the insider-outsider identities that is often conflated/mistaken with evidence of lack of authenticity. Whenever my tribe mates use this statement towards me, I am aware I am being gently reminded of my watered-down “Kikuyu-ness”, and when used by the Waswahilis, I receive it as a statement of endearment, insinuating oneness with them as a fluent Kiswahili speaker in the Island, despite my original ethnic roots as a highlander in Kenya. As an adult newcomer to Canada, I was made aware of my newly imposed most salient identity Blackness—an identity I soon discovered was intended to be a racial impediment/barrier to my humanity. Fortunately for me, being born and raised within dynamic African cultures in the Kenyan soil was (and still is) protection from the common Black identity crisis lived through intergenerationally by many students of African descent, who out of historical, socio-economic, and political systems of violence and or reasons have them born and raised in the belly of anti-African/Black racism, Canada. For as Nana (chief in the Akan language) Marimba Ani attests, “your culture is your immune system” (images, google.com). I therefore unquestionably owe my capacity to successfully attend the Canadian public educational system, to date, to this authentic and dignified sense of self that is rooted in my direct and undisputed connections to my African ancestry, culture, and spirituality. What a wealth of knowledge and wisdom yet to be rightfully inherited by our Canadian-based African students! As a Social Worker by profession and a therapist/psychotherapist by practice, I am habitually headed into witnessing and reacting therapeutically to our African children’s (and their parent’s) above stated and very specific collective pains, as I shall further discuss. Intentionally, and in accordance with the classic feature of African knowledges and wisdom being purposeful, I hence choose to use the above life lesson that I inherited from my beloved mother Wangũi, for the betterment of our collective African human condition (Dei, 2008). This is to support African girls’ and boys’ little selves in “better managing” their paradoxical individual experiences of distress, despite the well-known yet under-documented, collective, historical, and intergenerational histories of unrelenting anti-African/ Black racism within the Canadian mis-educational system. Not surprising then, and aligning with the African tradition to honour thy ancestors, may this chapter not only duly honour you my beloved mother Wangũi and our other ancestors that came before us. May it equally bless other African children (and support their parents) who suffer

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in varied capacities, from consequences of systemic and systematic violence within the Canadian public education system. For, as a graduate from an anti-oppressive school of thought in my profession, I am fully aware of how by colonial design, and as expected by virtue of their humanity and vulnerability as children, these African children’s acting-out their frustrations will naturally be indicated in poor performance socially and academically. Yet, it is in their little African children’s attempts to self preserve against systemic and systematic violence, unknowingly and unintentionally internalizing the cultural deficit theory at play that concludes that they are inherently intellectually and morally deficient (including their family and community members at large) by virtue of their belonging to non-Eurocentric/European cultures (Eizadirad and Campbell, 2021; Dei, 2003). Successively, these victimized children are then assessed as having learning disabilities, attention deficit hyperactivity disorder/ ADHD, and/or behavioral issues. They are then branded for life as pathological by nature by their very mis-educator and their complimentary medical modeled cruel systems such as the mental health sector. I can’t insist enough that this is nothing short of inhumane. As part of the African family, and a clan mother in my ethnicity, I am to be trusted with the collective guardianship of African children wherever I am located. As such, I acknowledge that the medical model is limited, since it is built on Eurocentric and thus perceives/sees human experience as contained in time and space, progressive from one stage to another in a single series of steps; hence its focus on symptomology/signs of illness (Dei, 2008; Wane 2002). Contrary to, and as per the African cosmology/ ancient belief system, African students and their nuanced experiences ought to be ultimately celebrated and affirmed for their individuality within the collective identities and realities, for I am Because We Are! (Olagoke, 1997; Wane, 2002). It is for this reason that I continue to vehemently/strongly advocate against the one-size-fits-all medical model approach that informs the Canadian educational system’s curriculum, teaching modalities/styles, and also the resultant evaluative and correctional/disciplinary interventions that continue to not only fail but threaten the very survival of our African children—ultimately, the future of the African family. Wangũi, always a mother to many, may your life lesson you graciously shared with me that continues to carry me through life, heal and restore our traumatized yet resilient African (Black) girl’s and boy’s body, mind, and spirit; bringing them back to their original and intrinsic dignified African self/selves-Amina/It shall be so!

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Msemo/Proverb: “Mtu Akikuita Mmbwa Usibweke”/ When Someone Calls You a Dog, Don’t Bark Back! When/Why: As I asserted above, because my beloved mother Wangũi was the quintessence of knowledge and wisdom, and since African oral tradition transcends geographical and spatial contexts; I would be insincere of me to try to locate the specificity of when/why she first shared the above Kiswahili proverb with me. Nonetheless, I surely recall its transcendental significance with regards to the theme of identity, the focus of my work in this chapter; intended to subvert the imagined self by the Other as I shall further expound. Simply put, Wangũi’s spirit is an infinite gift of a dignified sense of authentic identity that I am humbly honored to share with you my audience, and with utmost pride. And just like she shaped my knowledge base, I hope that she at the least inspires yours, if not challenge any internalized sense or tendency to self-loath/self-hate by virtue of your intergenerational revictimization. For to me, and always, my beloved mother Wangũi is the greatest teacher! What/How: I can recall endless instances when my mother Wangũi gently yet firmly advised that “mtu akikuita mmbwa usibweke”, a Kiswahili proverb that directly translates into “when someone calls you a dog, don’t bark back”! It was often that I had run back to my mother in tears to report my older siblings for making me upset by calling me a cry-baby. If you are familiar with childhood sibling dynamics in African households, you would know that there is privilege given to being of older age. Older siblings often assert their position of power over the younger ones, thus resulting in older versus younger sibling tensions that are usually outgrown into adulthood. Unfortunately for me, being the kitinda mimba/ last born as my beloved mother liked referring me to, this was common experience that was often very frustrating, especially since my inability to keep-up with my older siblings during play was not my own doing, rather a matter of age-related physical and cognitive developmental and hence functional differences. You surely can’t blame me for looking forward to growing up and surpassing my older siblings in strength and agility! So, whenever I saw my older siblings engage in a play/game that was fast-­ paced, I would get excited and wish to join in. Despite my persistence, they would all express hesitance, and most annoying, in unison- refuting my participation. This was on their concerns that “I would take away the fun from the game” because I was a “cry-baby”,  whenever I  couldnot match up, as they always claimed.

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Typical of an African traditional upbringing, moments of pain for children were in the same breath opportunities for comfort/reassurance and teaching life-lessons alike. Therefore, in her wisdom, my mother would come to my level, place her index finger on her thick luscious lips as she lovingly and firmly looked right into my wet and puffy leaf-shaped-eyes as she whispered to me in Kiswahili—mwanangu wee…/my child…, “mtu akikuita mmbwa usibweke”/when someone calls you a dog, don’t bark back. This was her sweet and cleaver way to forewarn me against becoming the very thing I seemed to find distasteful— ‘a cry baby’; whenever I cried to seek her comfort and most importantly her intervention against my older siblings for calling me so.

Somo/Lesson-Take Away As I have noted above, I acknowledge fluidity in meaning making as a classic feature of African knowledges and wisdom, thus the possibility that the proverb of my focus above may translate or offer a different meaning and as such a different significance to another. Nonetheless, for this body of work’s focus on exploring the interconnectedness between culture, traditions, language, and way of life through oral storytelling, sharing, and listening, I will focus on my beloved mother’s intended lesson on identity. I will use the proverb as a counter-narrative of resistance to subvert the imagined self by the Other, and most importantly, to ultimately cultivate an empowered sense of authentic and dignifying sense of self. Sharing this proverb that my beloved mother Wangũi graciously gifted me, with girls and boys of African descent born and raised in Canada, will be in accordance with the African tradition to Honor Thy Ancestors. This is because, the victimization of these African children as a consequence of their disconnectedness from their authentic and dignifying African identity makes them easy prey for an imposed inhumane identity violence within the public education system, an act of equal dishonor to their African ancestry; and therefore, consistent with anti-African/Black racism in essence (Dei, 2003). Furthermore, this act of honoring our ancestors aligns with the classic African feature of responsibility for the learner/receiver of specific knowledge and wisdom, and its purposefulness in improving human condition (Dei, 2008). Whenever Wangũi placed her index finger on her thick luscious lips, as she lovingly and firmly looked right into my wet and puffy leaf-shaped-­ eyes and whispered to me-“mtu akikuita mmbwa usibweke”; it was clear to

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me even even then that I was loved. Furthermore, that I was also honored by her, utterly/completely unafraid to call me to my highest self. Typical of an Indigenous African mother, she saw those moments of frustration for me as both opportunities to offer me the comfort/reassurance I needed, as well to teach me a critical life lesson that it ain’t what they call you, it’s what you answer to (Dei, personal communication, April 6, 2020). There was no doubt within my tiny body, big heart, and strong spirit then that she understood my plight, and most importantly, saw a greater being than that my older siblings and I saw within me, at that moment and space. As, such Wangũi was intentional in strengthening my sense of self, to facilitate my capacity to self-identify authentically, and also in a manner dignifying of my whole being for my life’s long journey and sustainability. This is because she understood the essence of a complimentary African proverb that states when there is no enemy within, the enemy outside can do you no harm, which translates to “when you refuse to allow any doubts in your own mind, then no doubts from others will ever cloud your judgement” (Google.com, 2017). May I clarify and insist that the use of the above complementary African proverb is not to blame the victimised African girl and boy for their vulnerability, rather to support immediate need for their validation and emotional support for their experiences, and most importantly address any most plausible underlying related deeper identity-related issues that make these victims easy prey for victimization. Which in this case would be, by virtue of these girls and boys of African descent being born and raised in the belly of anti-African/Black racism, Canada, they inadvertently/unintentionally lack in African culture and as such can be considered to be immune-deficient, thus making them susceptible to their plight of imposed alien dehumanising and undignifying identity as Nana Marimba would attest (1999). As intended, this identity would naturally yield behaviours consistent with frustrations in their little beings, which in turn would manifest in poor performance socially and academically. Successively, these victimised children are then professionally assessed as having learning disabilities and/or behavioural issues, branded for life as pathological by nature by their very mis-educator and their complementary medical modelled cruel systems such as the mental health sector where I am in contact with them, as I have acknowledged above. Limitations: The issue of identity crisis for African girls and boys is complex, as it is born of systemic, systematic, and intergenerational realities. It is therefore critical that the use of this proverb with children is

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contextualized as within the limits of the concept of Locus of Control, which purports that we are entirely only in control of how we feel and act (University of Virginia, n.d.). For as an adult African woman and therapist, I fully acknowledge the unfairness in placing such a historically weighty/heavy issue and hence responsibility on children who do not have autonomy for their being, let alone their inherited realities of violence. As such, this tool should be considered as a partial and micro/personal-level solution to the issue of identity crisis faced by our African girls and boys (and their parents) dealing with anti-African/Black racism within the Canadian public education system. If well implemented, as I hope and pray, this tool has the potential to offer African children, their parents and service providers with increased awareness on the importance of internal authentic African-centered identity formation processes and external subsequent cultural affirmation for African children, in relation to their ability to attain their physical, social, emotional, intellectual, and even spiritual developmental milestones. Like any therapeutic intervention that is not yet evidenced-based, I would recommend it is closely monitored by a certified therapist/counselor, so to mitigate any potential unintended harm.

Targeted Group, Lesson Plan, Pre-Activity, Main Activity, and Post Activity, Debriefing Questions Targeted Group: The applicability of Wangũi’s proverb in my childhood to date, speaks to the versatility in Afrikan knowledge and wisdom, as I have mentioned above. Consequently, I propose that this proverb is applicable to children and adults alike, and I have actually used and continue to use it with students (formally and informally) in varied age-sets, from those in junior kindergarten to those in higher education, with slight variations of course to ensure age appropriateness. This is because, as I have asserted above, this issue of identity crisis is historical, systemic, and systematic, as the Canadian education system is built on colonialism, which permeates/seeps across all levels of education. However, using this work as a pilot project and for purposes of replicability as intended in this project, I will focus on African girls and boys between the ages of 12–17 years. I personally and professionally find this age group to be particularly sensitive to issues of identity. Since this is a time of identity formation, their natural tendency to seek autonomy may in turn make such students an easy prey to be perceived by their educator/schools as defiant. Yet, like

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every other child, an African girl and boy has a right to seek “kujichagulia/self-determination-to define [them]selves, name [them]selves, create for [them]selves and speak for [them]selves” as per the Nguzo Saba/The Seven Principles of Kwanzaa as earlier noted (Karenga, n.d.). Likewise, this age group is developmentally known for advance understanding of complex realities such as the above, thus making them ideal to implement and evaluate the effectiveness of the intervention for purposes of replicability with younger African girls and boys, as hoped for in this project. This project’s goal definitely complements the African feature of versatility in use and purposefulness in the improvement of human conditions, as I have reiterated above. Lesson Plan: This lesson can be implemented with each individual African/Black student or in a standard group of up to 12 students between the ages of 12–17 years old. Representation is critical in everything educational, and I would insist especially in any therapeutic interventions, for the same purposes of cultural sensitivity and relatability from shared worldviews. Therefore, as an African therapist, I insist that this intervention is carried out only by educators, parents, or other professionals of shared cultural background, to ensure effectiveness and mitigate unintended re-traumatization of these children. A lack of shared worldview and lived experience could easily translate into misunderstandings of the depth of violence and hence trauma, which could easily create potential opportunities that an already victimized African girl and boy is revictimized, by feeling blamed for their susceptibility/vulnerability. Potential student participants are first and foremost to be assessed with regards to the impact of the above experiences, as it relates to currently dealing with negative emotions (such as anger) and subsequently experiencing school-­ related challenges such as poor academic performance, experiencing school attendance motivation issues (often labeled as child truancy), labeled as having ADHD and/or behavioral issues, among others. These potential participants are also to be connected with a therapist/counselor as a safety measure post this activity, if need be and as I advised above. As a start, participants are to be advised that this space is affirming to their African/Black identity, and as such acknowledging of the unfair experiences of difference within the Canadian education system. This is intended to acknowledge that this system is built on the bedrock of colonialism, and hence Anti-African/Black racism (Dei, 1996). It’s about calling-it-out for what it really is! Students are then to be advised that this intervention is purposed to:

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1. Offer a ‘safer space’ to validate their experiences of difference within the public education system, where their behaviors deemed as unjustified, and negative are met punitively/harshly in comparison to their counterparts. 2. Normalize their child-appropriate milestones, as the African worldview proposes that when students/learner error, they are actually doing what they are ideally supposed to do, which is to make mistakes and then learn. As such, they are to be guided by adults (such as teachers) with love and not hate, and ultimately be successfully redirected to the desired or appropriate path; and not further pushed away into the wrong or out of the school all together. Student participants are therefore empowered to understand that the role of the educator (and the education system) and other professionals is not to stereotype them based on the student’s/learner’s unacceptable or negative behaviors, as often is the case, as analogized by the part of the above proverb that states “when someone calls you a dog…”. 3. Empower African/Black students’ sense of autonomy, since the African principle of “kujichagulia/self-determination” believes that each student of African descent has equal right to “define [them]selves, name [them]selves, create for [them]selves and speak for [them]selves” as per the Nguzo Saba/The Seven Principles of Kwanzaa (Karenga, n.d.). Aligning with the feature of all-inclusive responsibility of knowledge to the learner, it is believed that the student/learner on the other hand now has a duty to learn from their noted error, by looking within on the ways in which they may have unknowingly and hence unintentionally justified their historic revictimization by “acting-out” the set stereotype of them by the system; as analogized by “…do not bark back!” N/B: It should be insisted to the students/participants that: this is not to blame them for their vulnerability to the system’s historical set stereotypes of them, rather to first support them in understanding and contextualizing their experiences, and then guide them with love in taking-back their power by not barking back to their call of a dog by the Other. For when there is no enemy within, the enemy outside can do you no harm, which translates to “when you refuse to allow any doubts in your own mind, then no doubts from others will ever cloud your judgement” (Google.com, 2017). Grounding exercises are to be done after each activity.

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Pre-Activity: Student are read out the following proverb: “Mtu akikuita mmbwa usibweke”/when someone calls you a dog, don’t bark back! Students are asked to be self-reflective (self-examination) and reflexive (how they may be implicated) on the above proverb, and then advice and document: . How they understand the above proverb? 1 2. How does it apply to them? N/B: It should be insisted to the students/participants that: The Canadian education system is known for calling students of African descent ‘a dog’, which is symbolic of the stereotypical labels often imposed on them such as lazy, bad, rude, angry, slow, having learning disability, having ADHD, disruptive, disrespectful, violent, threatening, having mental health issues, failure and so on. Sadly, unknowingly, and unintentionally many African students often end up identifying with the above imposed dehumanizing identity, and then act them out. Main Activity: Students are to document their reflections on: 1. What of the above stereotypes have you been called and/or do you identify with? 2. Why do you think you were called so? 3. Which of above do you personally identify with? And why? Post-Activity: As analogized in the African proverb, . When do you recall first being called a ‘dog’? 1 2. How did it feel to be called a ‘dog’? that is, describe specific emotions experienced. 3. Did you ever ‘bark back’ to the call of you a ‘dog’? And if yes, why and when do you first recall ‘barking back’ to the call of you a ‘dog’? 4. How did it feel to be called a ‘dog’? that is, describe specific emotions you experienced. 5. Since you are of African descent, clearly human and hence not a ‘dog’, what would you like to be called and why?

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Debriefing Questions 1. On a scale of 1< to 10> (1 least and 10 worst?) How would you rate your level of negative emotion (e.g., stress, anger, frustration, sadness, anxiety etc. a) pre-activity b) post-activity? 2. If there were changes to a student’s self-scaling, what changed? How would they explain the change? 3. Is the above change desired by the student and why? 4. What are their three take-aways? 5. Using the above African knowledge and wisdom learnt, how would they respond differently, if they were ever to be called a ‘dog’ again?

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Activity Plan Subject(s): Individual African/Black student or groups of up to 12 students.

•

•

•

Its recommend that this tool be first and foremost used with students aged between the ages of 12-17 years old, as they are particularly sensitive to issues of identity, since this is a time of identity formation. This age group’s natural tendency to seek autonomy makes these students particularly vulnerable, hence easy prey to be perceived by their educator/school as defiant. Potential student participants are first and foremost to be assessed with regards to the impact of the above experiences as it relates to currently dealing with negative emotions (such as anger) and subsequently experiencing school related challenges such as poor academic performance, experiencing school attendance motivation issues, labelled as having ADHD and/or behavioural issues. These potential participants are also to be connected with a therapist/counsellor as a safety measure, post this activity, if need be. This tool can be replicated across various age groups, appropriately adapted to ensure age appropriateness. Furthermore, its can be modified to respond to varied learning capacities/styles.

LEARNING EXPECTATIONS: 1. Offer African/Black students a ‘safer space’ to validate their experiences of difference within the public education system, where their behaviours deemed as unjustified, and negative are met punitively/harshly in comparison to their counterparts.

RESOURCES/MATERIALS:

•

Notebook and pen for documenting personal reflections and each session’s take away.

2. Normalise their child appropriate milestone, as the African GROUPINGS: worldview proposes that when students/learner error, they are  Students working as whole actually doing what they are ideally supposed to do, which is to class make mistakes and then learn. As such, they are to be guided  Students working in Pairs by adults (such as teachers) with love and not hate, and  Students working in small ultimately be successfully redirected to the desired path; and groups not further pushed away into the wrong or out of the school all  Students working together. Student participants are therefore empowered to individually understand that the role of the educator (and the education system) and other professionals is not to stereotype based on the student/learner’s unacceptable negative behaviours, as often is the case, which is analogized by the part of the above proverb that states “when someone calls you a dog…”. 3. Empower African student’s sense of autonomy, since the African principle of “kujichagulia/self-determination” believes

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that each student of African descent has equal right to “define [them] selves, name [them] selves, create for [them] selves and speak for [them] selves” as per the Nguzo Saba/The Seven Principles of Kwanzaa (Karenga, n.d). Aligning with the feature of all-inclusive responsibility of knowledge to the learner, it is believed that the student/learner on the other hand now has a duty to learn from their noted mistake, by looking within on the ways in which they may have unknowingly and hence unintentionally justified their historic re-victimization by “acting-out” the set stereotype of them by the system, as analogized by “…do not bark back!”

TIME: Activity Description and Details: Each session will be scheduled for 70mins long.

•

5mins: Check in- Debriefing on how students are feeling (state of current emotions) v/s coming in (overall sense of being) before starting the session.

•

5mins: Grounding exercises.

•

5mins: Pre-Activity- Student are read out the following proverb: “Mtu akikuita mmbwa usibweke”/when someone calls you a dog don’t bark back!

N/B: It should be insisted to the students/participants that: The Canadian education system is known for calling Black students of African descent ‘a dog’, which is symbolic of the stereotypical labels often imposed on students of African descent such as lazy, bad, rude, angry, slow, having learning disability, having ADHD, disruptive, disrespectful, violent, having mental health issues, failure etc. Sadly, unknowingly, and unintentionally many African students often end up identifying with the above imposed dehumanizing identity and act them out.

•

15mins: Main Activity-Students are asked to be self-reflective (self-examination) and reflexive (how they may be implicated) on the above proverb, and document in their individual

TEACHING/LEARNING STRATEGIES:                    

Debate Oral Presentation Reader’s Theatre Role Playing Discussion Interview Literature Circles Think/Pair/Share Advance Organizer Book Talks Conferencing Guided Reading Guided Writing Independent Reading Portfolio Reading Response Reflection Response Journal Brainstorming Other: _______________

ASSESSMENT STRATEGIES:            

Classroom Presentation Conference Essay Exhibition/Demonstration Interview Learning Log Observation Performance Task Portfolio Question and Answer (Oral) Quiz, Test, Examination Response Journal

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notebooks: 1. How they understand the above proverb? 2. How does it apply to them? 3. What of above stereotypes have you been called and/or do you identify with? 4. Why do you think you were called so? 5. Which of above do you identify with? And why?

•

5mins: Grounding exercises.

•

15mins: Post-Activity- As analogized in the African proverb,

1. When do you recall first being called a 'dog'? 2. How did it feel to be called a 'dog'? 3. Did you ever bark back to the call of you a 'dog'? And if yes, why, and when do you first recall barking back to the call of you a dog? 4. How did it feel to be called a 'dog'? 5. Since you are of African descent, clearly human and hence not a 'dog', what would you like to be called and why?

•

5mins: Grounding exercises.

•

15mins: for checkout- debriefing on how students are feeling (post state of current emotions) and going out (post overall sense of being) before ending the session.

Debriefing Questions: 1. On a scale of 1< to 10> (1 least and 10 worst?) How

 Select Response  Self-Assessment  Other: _______________

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would you rate your level of negative emotion e.g., stress, anger, frustration, sadness, anxiety etc. a) pre? b) post-activity? 2. If there were changes to student’s self-scaling, what changed? How would they explain the change? 3. Is the above change desired by the student and why? 4. What are their 3 take a way? 5. Using the above African knowledge and wisdom learnt, how would they act differently if they were ever to be called a dog again?

ACCOMMODATIONS: for students in need of accommodations, the facilitator shall make available: 1. Conference with individual student. 2. Think/Pair/Share. 3. Guided reading and writing.

MODIFICATIONS: 1. For students with challenges in their reading or writing skills, they shall be provided with one-on-one support and also permitted to express in other ways such as drawing, verbally, use text-to-speech technology etc. 2. For younger students and student with difficulties sitting through lengthy activities, each session shall be broken into 2 (35mins each) to match their unique needs.

ASSESSMENT RECORDING DEVICES:     

Anecdotal Record Checklist Rating Scale Rubric Other: student selfassessment.

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HOMEWORK:

TEACHER REFLECTIONS:

1.Students are encouraged to continue to document their reflections if they choose to participate in following sessions.

1.The facilitator makes copies of student’s selfreflections and shares their own written down observations with each student. This is hoped to provide open communication between facilitator and student(s), as well as offer avenues for dialogue, clarification and when necessary guidance and redirection.

2.They are also encouraged to bring their findings to therapists/counselors for those who end up seeking therapy for additional and ongoing support.

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2.Teacher’s reflections and formulations on each student can be brought to therapist/counselors for those who end up seeking therapy for additional and ongoing support.

References Angelou, M. (2014, May 24). Iconoclast: Dave Chappelle + Maya Angelou [Full Episode]. Retrieved January 7, 2021, from https://www.youtube.com/ watch?v=okc6COsgzoE Dei, G.  J. S. (2008). Indigenous Knowledge Studies and the Next Generation: Pedagogical Possibilities for Anti-Colonial Education. The Australian Journal of Indigenous Education, 37(S1), 5–13. Dei, G.  J. S. (2003). Why Write “Black”? Reclaiming Knowledges in Diasporic Context. In J. L. Conyers Jr. (Ed.), Afrocentricity and the Academy: Essays on Theory and Practice (pp. 2011–2230). McFarland.

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Dei, G.  J. S. (1996). Basic Principles of Anti-racist Education. In Anti-Racism Education: Theory and Practice (pp. 25–49). Fernwood Publishing. Earth Center Canada. (2019). Medu Class. The Earth. Center.org. Retrieved March 15, 2022, from https://youtube.com/watch?v=IBwa50hzwqc&feature Eizadirad, A., & Campbell, A. (2021). Visibilizing Our Pain and Wounds as Resistance and Activist Pedagogy to Heal and Hope: Reflections of 2 Racialized Professors. Diaspora, Indigenous, and Minority Education, 15(4), 241–251. Google.com. (2017, September 5). African Proverb. Retrieved January 10, 2010, from https://www.google.com/search?q=african+proverb+on+enemy+within &oq=african+proverb+on+enemy+within&aqs=chrome.69i57j0i22i30.9289j0 j15&sourceid=chrome&ie=UTF-­8 Humphrey, C. (2007). Insider-outsider: Activating the Hyphen. Action Research, 5(1), 11–26. Karenga, M. (n.d.). Nguzo Saba/The Seven Principles of Kwanzaa. Retrieved January 13, 2021, from https://www.us-­organization.org/nguzosaba/ NguzoSaba.html Kenyan Facts in History. (2013, November 17). Kikuyu Clans and their Attributes. https://kenyanhistory.wordpress.com/2013/11/17/kikuyu-­c lans-­a nd-­ their-­attributes/ Marimba, A. (1999). Your Culture if Your Immune System. Retrieved June 10, 2020, from https://www.google.com/search?q=your+culture+is+your+immu ne+system&sxsr f=ALeKk01myKwwBumTR11vF9g0rnS2pyaaHg:16 14205369748&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjTy6HNx4Pv AhWgFFkFHZfCDOUQ_AUoAXoECAMQAw&biw=1048&bih=634#imgr c=XnNK_5ZfoYciVM Olagoke, B.  E. (1997). The International Journal of African Historical Studies, 30(2), 373–375. University of Virginia. (n.d.). The Locus of Control: Locus of Control Tool. Retrieved December 7, 2020, from https://faculty.darden.virginia.edu/clawsonj/General/SELF_ASSESSMENT_TOOLS/OB-­7 86_Locus_of_ Control.pdf Wane, N. (2002). African Women, Cultural Knowledge, and Environmental Education with a Focus on Kenya’s Indigenous Women. Canadian Journal of Environmental Education, 7(1).

CHAPTER 3

Stories and Counter-Stories Rabia Khokhar

Objectives • To critically think about the power of stories • To reflect on the stories that have power in our societies and communities • To consider the importance of people, communities and groups telling their own stories

Locating Self as Author As an elementary school teacher, stories are an important and integral component of the curriculum and program. Stories are used in cross-­ curricular ways by educators to teach students about important ideas, concepts, values and events. Stories are also a tangible way students of all identities and lived experiences can be seen, reflected and represented in the curriculum. Although, this is the hope and goal of the curriculum and schooling in general, as a visible Muslim student and woman I did not see myself reflected or represented in the stories that were used to teach the curriculum.

R. Khokhar (*) Ontario Institute of Studies in Education, Toronto, ON, Canada © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_3

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All of the stories that were used to teach the curriculum or other everyday interactions in the classrooms centered on the White racial identity and experiences as the norm, while other identities were seldom taught about. In spoken and unspoken ways, these became the ‘other’ from the White norm. Not seeing myself represented left me with the feeling that I did not belong in my classroom, school and larger local and broader communities. It made me feel invisible and that my identity and experiences did not matter or belong in the spaces I occupied. Furthermore, not being represented made me feel silenced and misrepresented; and being only seen through the stereotypical tropes commonly associated with Muslim women (uneducated, oppressed, voiceless) left me feeling confused, upset, heartbroken and overwhelmed as if it was solely my responsibility to teach and change the stories people knew about my identity and experiences. It felt like an overwhelming weight on my shoulders as a student. There was no space within the curriculum provided to tell my own stories nor was I ever taught or given the language which I could use to bear witness to my truths or show their interconnectedness to other experiences. This is the context which sets up the proverb I want to analyze closely in this chapter. The proverb is “Until the lions have their own historians, the history of the hunt will always glorify the hunter.” As I reflect on my own schooling experiences of not being represented and also being misrepresented in the stories that were used to teach the curriculum or the stories that were reference points that made up the daily classroom life, I reflect on the following questions: Who has the power to tell whose story? Whose story is the dominant story and whose story becomes the ‘other’? Whose identity and experiences are the reference points and whose only show up as additive approaches once in a while in the stories that are used to teach the curriculum or make the daily classroom life? This proverb compels me to consider the importance of creating space for people of all identities to tell their own stories. As well as, helping educators and those who have power to consider their role in using their positional power to center, amplify and embed stories from multiple perspectives especially those communities who have been historically silenced, erased and othered. As a racialized and visibly Muslim educator, I know that there are spaces where I have less power because of oppressive

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structure and their relations to my identities. However, as an educator, my teacher identity gives me positional power which I can use and mobilize to teach for social justice education. I can use my educator identity and the power that comes with it to work to create spaces where the ‘lions’ can tell their stories and the stories of the ‘hunters’ are analyzed critically to see the stereotypes and gaps they perpetuate. My aspiration and goals to become a teacher had a large part to do with wanting to expand the ideas and stories around who can be a teacher. Often, the teacher identity is represented as being racially White with a female gender identity. Considering this, I wanted to strive to be the representation that I needed as a student, to see my identities reflected in the school space which I loved. Although my identities were not necessarily represented in the educators and school staff that I was around, my passion for teaching and the important space I could strive to carve out for myself was supported by my mother and sister. They inspired me to create spaces for myself and to tell my own stories. As an educator, I have the privilege to serve and work with students of diverse and intersectional identities in various parts of the city. Every day, I learn more about the importance of people of all identities being represented in all roles and spaces. My professional role and community activism allows me to rethink how I can create change by critically considering the types of stories we tell, privilege and/or silence. My work as an educator allows me to use my positional power to center, highlight and amplify stories from all identity groups and communities. My work in the community, specifically in the field of children’s literature allows me to be involved with making book recommendations, doing book reviews and considering book vetting processes. I have the opportunity to do this work with the Toronto Star, a local newspaper, Canadian Forest of Reading Program, the Canadian Children's Book Center’s Best Book Magazine and with Canada’s Penguin Random House Young Readers Department. These different positionalities and positions of privilege allow me the opportunity to strive to create a positive impact on the micro and macro level. Therefore, this proverb is important to me because my hopes for an inclusive and social justice based education system and communities can start by thinking critically about the stories we tell, have always told and how we can change them to ensure all voices are centered and included.

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Proverb in Detail There are many versions of the proverb I am using to discuss and analyze in this chapter. However, the one I will focus on is by Nigerian author, poet and dominant figure in modern African literature, Chinua Achebe. In 1994, Achebe said in the Art of Fiction, “Until the lions have their own historians, the history of the hunt will always glorify the hunter” ( King, 2014) This proverb, although may be contextual in speaking about the histories of colonization and resistance in African countries, is timeless and still very relevant today and in a global scope.

Meaning/Take Away Message This proverb shares an important and timeless concept and teachings. Its roots may be discussing the impact of colonization and how those who have power end up using it to write and tell their own stories, which only centers their version and glorifies their achievements, identities and experiences. In many ways, the White identity and experiences become the dominant and norm. While those of Indigenous, Black and other racialized people, become the ‘other’ and marginalized. This proverb is still relevant and responsive to our times in a Western sociopolitical context because oppression and various forms of racism like Anti-Black racism, Anti-Asian racism, Islamophobia are still present. These experiences continue to impact people’s daily lives in an individual and systemic way. The two themes that stand out when I consider this proverb in relation to elementary education is identity and power. Although there are movements to work toward more inclusion and social justice for students of all identities through the school curriculum and resources, the official and unofficial curriculum still center the White identity and experiences as the dominant and frame of references. The impact of this on students can be feelings of not being seen or belonging in the classroom and wide school setting. It can also mean not having one’s identities, cultures, experiences, values and heritages included or seen in an asset-based way. This then can further lead to how educators and schools discipline students of certain identities, which students are placed in which classes in terms of streaming and which behaviors are seen as being the ‘norm’ in a classroom and school setting.

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While other identities and experiences may be included in the curriculum, the approach is very much an additive one and always in relation or being measured by the dominant and norm of Whiteness. For example, Islamic contributions may only be highlighted once a year during Islamic Heritage Month. When I consider the official curriculum, I think of the provincial Ministry regulated curriculum, whereas the unofficial curriculum becomes the everyday life and experiences that take place in the daily life of a student in a classroom and school community. Both of these curricula are shaped by specific stories which have the power to create a sense of belonging or importance for some students, while other students may feel silenced and misrepresented. The official curriculum still continues to perpetuate a single story of ideas and events that center a White settler perspective. Tara Yosso in her paper, “Whose culture has capital? A critical race theory discussion of community cultural wealth,” discusses that the White lived experience is the one that has cultural wealth and capital in our sociopolitical context, it becomes the official and foundational knowledge. The skills, culture, values and knowledge is seen as normative and schools continue to center this within the curriculum and daily school life (Yosso, 2005). Chimamanda Adichie, a Nigerian author states that the single story is “the story chosen and told over and over again until it becomes a fact, a truth, the only framework or interpretation” (Addey, 2018). The single story is an incomplete story which focuses on centering one perspective or version of events from the lens of those who have power. In her Ted Talk, titled the Danger of a Single Story (https://www.youtube.com/ watch?v=D9Ihs241zeg), Adichie states that those who have power can choose how and when to tell the story and consider the ways in which it is passed on. In intentional and unintentional ways, when the curriculum tells a single story, it conveys a message of who is important as well as who is not. In this way, one version of events is perpetuated on an ongoing basis which becomes the dominant story. There is power in the dominant story and who gets to tell and teach it. The single story often harms the dignity of people. One of the ways to restore the dignity and humanity of all people and to really create spaces where “the lions can have their own histories” is to provide space for historically marginalized people to write their own stories as well as to use our positional power to amplify and center these voices in our curricula. As a student who did not see herself reflected in the stories that were shared in school, I often felt like I did not belong in the

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space that was supposed to teach me about what was important and valuable. I did not feel a sense of connection but rather for the most part felt invisible in the school system and believed that I needed to erase or ‘tone down’ my identities, particularly my religious and cultural identities. As an adult and an educator, I reflect on my own experiences and consider the ways in which I can create space for my students of all identities to tell and share their own stories from their viewpoints, perspectives and experiences. This is an important foundational element of my teaching philosophy. To truly work towards a well-rounded and inclusive curriculum that centers all voices and helps students think critically is to center and bring forward counter-stories as a way to “restory the self” (Thomas et al., 2016, page 313-14). Counter-stories are a “method of telling the stories of those people whose experiences are not often told” (Solorzano et  al., 2002, page 10). Counter-stories are powerful because they are a way to resist against the single stories and take back one’s power. It is a tangible and practical way in the classroom to amplify the voices, experiences, narratives, perspectives and truths of those who have been silenced from the curriculum whether intentionally or in unintentional ways. Stories are powerful because they reinforce who is seen and whose identities matter. Therefore, counter-narratives can be used to re-story the self and ensure that there is space created to tell one’s own stories or for those in power to amplify the stories that need to be heard, read and taught. There is a big impact this process can have on all students because it can teach them a more truthful and comprehensive perspective. Therefore, this can support the process of asserting one’s perspectives, experiences and existence “in a word that tries to silence subaltern voices'' (Thomas et  al., 2016, page 314). In a practical way, counter-stories help us structurally create space to bring forward voices, perspectives and experiences that have often been silenced and erased. They are a tool that can be used by communities to either speak back to the single and limiting stories or to just use the space to share one’s own dynamic and diverse stories. Critical literacy is a framework that can be used to bring counter-stories into the curriculum and classroom practice. Critical literacy is the “use of the techniques of print and other media of communication to analyze, critique and transform the norms, rule systems, and practices governing the social fields of everyday life” (Luke, 2012, page 5). Critical literacy has four dimensions, disrupting the commonplace, interrogating multiple viewpoints, focusing on sociopolitical issues and taking action and

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promoting social justice (Lewison et al., 2002). All aspects are interconnected and can be used to bring counter-stories to the classroom. It is important to note that picture books are an important way in which stories are taught to students in the elementary classroom. Critical literacy is about asking questions about power, identity, representation and why things are the way they are. Critical literacy is about helping students become critically conscious members of their communities which is to probe and ask questions and take action to ensure more fairness and inclusion for people of all identities. It is important to note that the children’s literature industry, though changing slowly, still centers on the White, cis gender and male perspective. An infographic was made in 2019 by David Huyck and Sarah Park Dahlen based on statistics from the  Cooperative Children’s Book Center (CCBC) in 2015 and updated in 2018. It found that most of the books being published center and show a white cis gender male in various experiences and genres. Other books tend to center animal characters, and visible minority groups seldom have any books accurately representing their identities and experiences. It is important to consider the following questions: Who are the gatekeepers of the publishing industry and what is the criteria that is used to decide which story is a ‘good story’ and should be published? One of the ways to think about how to bring counter-stories into the curriculum and classroom is to ensure that the stories we are sharing with our students are relevant and responsive for their identities, experiences and contexts. A counter-story disrupts the dominant story and offers a more comprehensive and factual story (Solorzano et al., 2002). A tangible way is for educators and all those invested in the lives of students to do a critical audit of their book collections and resources to see if they are inclusive. A book collection audit is an important conceptual way to look and assess the books and stories that are being shared with students. An audit is focused on looking at a collection with a critical lens to see what is present, assess if there are gaps, see where the gaps are and then take action to close and address the gaps. Through my own experiences as a student, educator and in the children’s literature industry, I have come to learn about the gaps in the stories that are being shared with students in the curriculum as well as the daily experiences in the classroom. I have also seen people committed to making a difference and to bring about positive change in relation to the stories that are shared. A book collection audit is a tangible way to create change. It is an action we can individually and

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collectively take to do better so that all of our students see themselves reflected and represented in spaces where they should find belonging. When we conduct a book collection audit, we can ensure that we have books that are mirrors, windows and sliding glass doors (Sims Bishop, 1990) in our entire collection. Rudine Sims Bishop (1990) states that Books are sometimes windows, offering views of the world that may be real or imagined, familiar or strange. These windows are also sliding glass doors, and readers have only to walk through in imagination to become part of whatever world has been created or recreated by the author. When lightning conditions are just right, however, a window can also be a mirror. Literature transforms human experiences and reflects it back to us, and in that reflection we can see our own lives and experiences as of the larger human experience. (Page 1)

This is an important concept that can be brought into action through the book collection audit we can conduct. This proverb has prompted this activity which is more of a toolkit and a framework for thinking critically about our book collections and the messages they send. The framework that is being followed for this book collection audit toolkit is loosely based on the four goals of the anti-bias education put forward by Louise Derman-Sparks and Julie Olsen Edwards (2020) in their Anti-Bias Education for Young Children and Ourselves book. The audit framework will look to see if there are books that affirm students' identities and lived experiences, expand the identities and lived experiences that they know, learn the language of fairness and unfairness and consider actions to feel empowered to create change. These four goals are important as we consider what to ‘look for’ in an audit. We want the audit to be meaningful, accessible and relevant for all who use it. The goal is to empower those who are using it to critically think about the books that they have and to seek out new ones that are going to ensure to reflect and represent the various people, communities and experiences within our local and broader communities. The proverb reminds us to reflect on and take action in relation to critically thinking about the stories that are always centered and those that are silenced and erased. The audit guide is a tangible tool that can be used to do this critical reflection and work. The hope and goal is to create space to bring forward stories that reflect all people, communities and experiences from those who are part of these groups.

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Activity Book Collection Audit Guide and Activity The guiding questions below will help us think critically about the books we have in our classrooms, home and the ones we expose our students to from the library. This is an audit guide that can be used by educators, parents, families and even our students! It is important to help students of all ages to think critically about the stories that they read, hear and are exposed to. An audit helps us look carefully at our book collection, consider where we have gaps and then use this information to fill these gaps so that all people can be represented. The questions that guide the different sections of the audit are just examples, ideas and potential ‘look fors’ in books; they do not necessarily need to be used like a checklist. In addition, not all of the questions may be relevant for all books; you can pick, choose and answer the ones you think will be most relevant for you. You can critically ‘check’ one book in your collection or a group of them. In this audit guide, the term ‘different’ is used to help us think about our different identities and experiences. It is set up loosely in four categories that are the backbone and framework for ensuring our book collections are equitable and inclusive. The questions and prompts are in user friendly language and the hope is that they allow room for flexibility in being relevant and contextual for those using this guide. These questions and prompts also center the ‘self’ so that those who are using this guide can put themselves in the book collection and think critically about what is present and what may need to be included. The goal of this audit guide is to think about our book collections with an equity lens so that all of the books we are exposed to are inclusive for all identities and experiences. Stories are one of the tangible ways we can create a more fair, equitable and inclusive world where people of all identities and experiences are seen, reflected and represented. There is power in the stories that are told, centered and amplified and I hope this guide can help us on this journey. With the audit guide there is also an activity plan which teachers and others can use to help students think about mirror and window books. Considering how books are mirrors and windows is a way for students to think about how books can affirm and expand their identities, ideas experiences. This can then lead to further critical exploration around whose stories are often centered and whose are missing. This initial work with

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mirror and window books can lead us to also then consider how books can help us become critically conscious and empower us to create a positive difference. Book collection Audit Guide Affirm My Identity and Experiences: Affirm: Affirming one’s identity and experiences means that the books will be like a mirror for you. These books will reflect and show you your identities and experiences in an authentic way. Key Questions

Comments

Do the books that I have affirm and represent my identities? How many do? Do the books that I have affirm and represent my family? Do the books that I have affirm and represent my experiences? Which experiences? Do the books that I have affirm and represent my community? Do the books that I have show me my identities and experiences in all genres? How do I feel when I read and see aspects of my identity reflected in what I read? What books do I want to read more of that are not in my collection but will represent me? How will other people who are different from me feel when they see my identities and experiences in the books they read and have in their book collection?

Expand My Identity and Experiences: Expand: Expanding one’s identity and experiences means that the books will be like a window for you. These books will show and teach you about people and experiences different from your own in an authentic way. Key Questions Do the books that I have expand and represent identities different from mine? How many of the books do? How are different identities and experiences represented? Can I see different people and experiences in all genres? Are people from the identity groups writing and telling their own stories?

Comments

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Comments

Do the books that I have teach me about families and communities different from mine? How do I feel when I read and learn new things about people and experiences? What books do I want to read more of that expand my ideas around identities and experiences different from my own? When I am reading about identities and experiences different from mine, what are some important things I need to remember?

Help Me Become Critically Conscious: Critically Conscious: Books can help us learn to become critically conscious members of our communities. Critically conscious is focused on understanding what is fair and unfair in our local and broader communities. Key Questions

Comments

Do the books that I have teach me about what fairness looks, sounds and feels like in different situations and for different people? Do the books that I have teach me what fair and unfair words and actions are? Do the books that I have teach me what fair and unfair rules and structures are? Do the books that I have give me the tools to critically identify fairness and unfairness? Do the books that I have teach me the language of fairness and unfairness? Do the books that I have teach me about past and current fair and unfair events? Do the books that I have teach me the importance of working towards fairness for all people? How do these books make me feel?

Inspire Me to Feel Empowered and Act Justly Empowered to Act Justly: Books can help us learn the importance of creating positive changes in our communities. Books can also inspire us by providing us with examples of how others are making a difference.

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Key Questions

Comments

Do the books that I have show me people of different identities taking action to make a positive difference in their local and broader communities? Do the books that I have show me heroes and change makers of different identities in various experiences? Do the books that I have show me that change requires individual and systemic actions? Do the books that I have show me people making a change in my community and abroad? Do the books that I have show me the different ways to create change? Do they teach me about past and present situations? How do I feel when I read books about people making a difference? Do the books that I have show me causes that I care about? Do they teach me how I can make an impact?

Example Audit: Below is an example audit completed on one book. The section below shows that this is a flexible tool and the many different ways it can be filled out. It can be filled out completely or in ways that make the most sense to the one using the tool.  Book Title: One Wish Fatima al-Fihri and the World’s Oldest University Affirm My Identity and Experiences: Affirm: Affirming one’s identity and experiences means that the books will be like a mirror for you. These books will reflect and show you your identities and experiences in an authentic way.

Key Questions

Comments

Do the books that I have affirm and represent my identities? How many do?

This book affirms my identities. The main character is a Muslim woman like me.

Do the books that I have affirm and represent my family? Do the books that I have affirm and represent my experiences? Which experiences? Do the books that I have affirm and represent my community? Do the books that I have show me my identities and experiences in all genres?

This book shows a character who loves learning. I love learning too! Yes, this story shows me a Muslim community.

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Comments

How do I feel when I read and see aspects of my identity reflected in what I read? What books do I want to read more of that are not in my collection but will represent me? How will other people who are different from me feel This is a book everyone should when they see my identities and experiences in the read because it teaches us about books they read and have in their book collection? someone who is inspiring.

Expand My Identity and Experiences: Expand: Expanding one’s identity and experiences means that the books will be like a window for you. These books will show and teach you about people and experiences different from your own in an authentic way. Key Questions

Comments

Do the books that I have expand and represent identities different from mine? How many of the books do? How are different identities and experiences represented? Can I see different people and experiences in all genres? Are people from the identity groups writing and telling their own stories? Do the books that I have teach me about The community that is represented in the families and communities different from book is a Muslim community. I am Muslim. mine? This book shows me a Muslim community that is racially and culturally different from me. It expands my ideas around Muslim people and communities. How do I feel when I read and learn new things about people and experiences? What books do I want to read more of that expand my ideas around identities and experiences different from my own? When I am reading about identities and experiences different from mine, what are some important things I need to remember?

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Help Me Become Critically Conscious: Critically Conscious: Books can help us learn to become critically conscious members of our communities. Critically conscious is focused on understanding what is fair and unfair in our local and broader communities. Key Questions

Comments

Do the books that I have teach me about what fairness looks, sounds and feels like in different situations and for different people? Do the books that I have teach me what fair and unfair words and actions are? Do the books that I have teach me what fair and unfair rules and structures are? Do the books that I have give me the tools to critically identify fairness and unfairness? Do the books that I have teach me the language of fairness and unfairness? Do the books that I have teach me about past and current fair and unfair events? Do the books that I have teach me the importance of working towards fairness for all people? How do these books make me feel?

This book teaches me the importance of all people having the opportunity and accessibility to learn new things. It also teaches me the importance of having a space to learn in.

Inspire Me to Feel Empowered and Act Justly Empowered to Act Justly: Books can help us learn the importance of creating positive changes in our communities. Books can also inspire us by providing us with examples of how others are making a difference. Key Questions

Comments

Do the books that I have show me people of different identities taking action to make a positive difference in their local and broader communities? Do the books that I have show me heroes and change makers of different identities in various experiences?

This book shows me how Fatima al-Fihri had an idea and made a difference in her community. It shows me that I can also have ideas and do important things. Yes

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Key Questions

Comments

Do the books that I have show me that change requires individual and systemic actions? Do the books that I have show me people making a change in my community and abroad? Do the books that I have show me the different ways to create change? Do they teach me about past and present situations? How do I feel when I read books about people making a difference?

Yes

Do the books that I have show me causes that I care about? Do they teach me how I can make an impact?

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Yes

Yes

While reading this story, I felt happy and inspired to learn about a Muslim changemaker. Yes

Debriefing Questions • How are stories powerful? Why are stories important in our classroom and in schools? • Who decides which stories we learn and are included in the curriculum? • Whose stories do you think may be missing, silenced or erased from the curriculum? • Do you think it is intentional or unintentional that some stories become the dominant story and others are add-ons? • Why do stories that center a White perspective become the dominant while other stories are marginalized? • What can we do to create space for the stories that have been historically missing, erased and silenced? • Why are counter-stories important in our classroom and in schools? • How does it feel to see yourself represented in the stories that are shared in classrooms? • How does it feel to sometimes or never see yourself in the stories that are shared in classrooms? • Why is it important that people are telling their own stories and not someone else?

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Why and How: The proverb analyzed in this chapter is important because in many ways it is timeless. It can really take on any context because it focuses on thinking critically about identity and power and how that comes into play in different spaces. In the elementary school setting, stories are the cornerstone of the program and oftentimes define our work with young people. Therefore, as people working with students, it is important to recognize that our actions have power and we can choose to share and expose our students to stories that show people of all identities and experiences in inclusive and socially just ways. In the elementary years, we can support students to become equitable, fair and just and the stories we tell, share and expose them to can support these goals.

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Appendix Activity Plans Mirror and Window Books

Subject(s): Language, Social Studies, Media Literacy LEARNING EXPECTATIONS:

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Students will think critically about the important role stories play in our classroom and communities. Students will think about why we love stories and what they teach us

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Students will think about what a mirror book is and be able to identify one for themselves

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Students will think about what a window book is and be able to identify one

RESOURCES/MATERIALS: -Books from the classroom/school library -Definitions of mirror books and window books on chart paper -Markers -Mirror and window images GROUPINGS:  Students working as whole class

 Students working in Pairs  Students working in small groups

 Students working individually

TIME: Activity Description and Details: 40-60 minutes lesson

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In this activity students will learn about mirror books and window books. This is a concept from Professor Rudine Sims Bishop. Learn more here: https://scenicregional.org/wpcontent/uploads/2017/08/Mirrors-Windows-andSliding-Glass-Doors.pdf

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The teacher will start by showing students a mirror or an image of a mirror and ask them what they see. Potential Responses: “I see myself”

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Then the teacher will show students and image of a window or point to one in the learning environment. They will ask students some of the things they see from windows.

TEACHING/LEARNING STRATEGIES:                  

Debate Oral Presentation Reader’s Theatre Role Playing Discussion Interview Literature Circles Think/Pair/Share Advance Organizer Book Talks Conferencing Guided Reading Guided Writing Independent Reading Portfolio Reading Response Reflection Response Journal

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Potential Responses: “I see the tree outside of our class” “I see the playground” “I can see outside”

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Share the definitions of mirror and window books. Check the lesson plan adaptations to make the activity relevant and responsive for your students and context. Let students know that mirror books show us characters and experiences that are similar to us. The characters can have our identities (racial, cultural, gender, interests etc) and the story will show us experiences we can relate to.

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Give them an example of a mirror book for you and guide the conversation. For example: A mirror book for me is the book called, One Wish Fatima al-Firhri and the World’s Oldest University written by M.O.Yuksel and illustrated by Mariam Quraishi. This book is a mirror for me because the story is about a Muslim woman who loves learning new things. I am Muslim and also love learning new things like the main character.

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Give students books from the classroom and library and have them work with a partner or independently to think about which books in the collection are mirror books for them. Have them share with their partner and or the rest of the class. Try to ensure that all students have access to some mirror books that reflect a part of their identity and some experience so they know are included.

•

Once you think students have practiced, reflected and understood what mirror books are introduce the concept of window books. Explain to students that similar to a window, which helps us see ‘outside’, window books show us identifies and experiences that are different from our own.

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Give them an example of a window book for you and guide the conversation. For example: A window book for me is We Move Together written by Anne McGuire and Kelly Fritsch and illustrated by Eduardo Trejos. This book is a window book for me because it teaches me about accessibility and shows me how

 Brainstorming  Other: _______________

ASSESSMENT STRATEGIES:               

Classroom Presentation Conference Essay Exhibition/Demonstration Interview Learning Log Observation Performance Task Portfolio Question and Answer (Oral) Quiz, Test, Examination Response Journal Select Response Self-Assessment Other: _______________

3  STORIES AND COUNTER-STORIES  different people move through the world. By reading this book I learn something new about these experiences.

•

Give students books from the classroom and library and have them work with a partner or independently to think about which books in the collection are window books for them. Have them share with their partner and or the rest of the class. Try to ensure that all students have access to some window books so that they understand how books can teach and show us identities and experiences different from our own.

•

Extensions:

-Over time once these concepts have been understood and deconstructed with students continue to have critical conversations to push their thinking. Some possible discussion questions can be:

• • • • • • •

For which identities and experiences can we find books easily? For which identities and experiences is it hard to find books? Can you find more mirror or window books? How does it feel to have a mirror book? Why is it important that everyone has mirror books in our collection? Why is it important to have window books in our collection? Do you think it is fair or unfair that some identities and experiences have more books to choose from? Show students this inforgraphic and deconstruct it with them: https://socialjusticebooks.org/diversitygraphic/

-Teach students how to do an audit of their classroom and sections of their school library to take action to make sure all identities and experiences are reflected.

ACCOMMODATIONS:

•

Pre-teach important key words in the lesson plan (mirror, window, identity, experiences)

ASSESSMENT RECORDING DEVICES:  Anecdotal Record  Checklist

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•

Spend time on both of the concepts so all students can understand them

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Try to see if there are audio versions of the books or allow space for students to explore the virtual book collection if that is more accessible for them.

 Rating Scale  Rubric  Other: _______________

MODIFICATIONS:

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Provide differentiated opportunities for students to share their ideas (individually with the teacher, in small or big groups)

HOMEWORK:

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Provide opportunities for students to read various mirror and window books

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Offer them to do a reflection on how it feels to have mirror and window books and the important role they can play in our classroom/school

TEACHER REFLECTIONS:

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How did students respond to the concepts of mirrors and windows?

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What are ways that I can help students continue expanding their thinking around mirror and window books?

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How can I ensure that all students in my classroom have some mirror and window books to do this activity and understand the impact of books?

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What do I need to spend more time deconstructing with students?

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How can I bring the ideas of mirror and widow books to my students in a cross curricular way so it is more meaningful for students?

References Addey, C. (2018). Assembling literacy as global: The danger of a single story. In The Palgrave International Handbook of Adult and Lifelong Education and Learning (315-335). UK: Palgrave Macmillan. Huyck, D. and Dahlen, S. (2019). Diversity in Children’s Books 2018. sarahpark. com blog. Created in consultation with Edith Campbell, Molly Beth Griffin, K. T. Horning, Debbie Reese, Ebony Elizabeth Thomas, and Madeline Tyner, with statistics compiled by the Cooperative Children’s Book Center, School of Education, University of Wisconsin-Madison: h ­ttps://ccbc.education.wisc. edu/literature-resources/ccbc-diversity-statistics/books-by-about-poc-fnn/.

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Retrieved from https://readingspark.wordpress.com/2019/06/19/ picture-this-diversity-in-childrens-books-2018-infographic/. Derman-Sparks, L., et  al. (2020). Anti-Bias Education for Young Children and Ourselves. Washington, DC. National Association for the Education of Young Children. King, L. G. (2014). When lions write history. Multicultural Education, 22, 1–12. Lewison, M., et al. (2002). Taking on Critical Literacy: The Journey of Newcomers and Novices. Language Arts, 79, 382–392. Luke, A. (2012). Critical Literacy: Foundational Notes. Theory into Practice, 51, 4–11. Sims Bishop, R. (1990). Mirrors, Windows and Sliding Glass Doors. Perspectives: Choosing and Using Books for Children, 6, 1–2. Solorzano, D., et al. (2002). Critical Race Methodology: Counter-Storytelling as an Analytical Framework for Education Research. Qualitative Inquiry, 8, 23–44. Yosso, T. J. (2005). Whose culture has capital? A critical race theory discussion of community cultural wealth. Race Ethnicity and Education, 8, 69–91. Thomas, E., et  al. (2016). Restorying the self: Bending toward textual justice. Harvard Educational Review, 86, 313–338.

CHAPTER 4

Strength through Resistance: Drawing Critical Connections between Malalai of Maiwand and Malala Yousafzai to Counter Western Narratives of Muslim Girlhood Zuhra Abawi

Objectives • To challenge hegemonic notions of Muslim women and girls as passive and submissive by recentering their narratives as activists • To provide counternarratives to dominant narratives by centering on storytelling as pedagogical praxis • To disrupt colonial models of schooling and curriculum that silence non-Eurocentric epistemological paradigms

Z. Abawi (*) College of Education, Niagara University, Vaughan, ON, Canada e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_4

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Locating Self as Author Every Pashtun child grows up hearing the story of Malalai of Maiwand, on both sides of the Durand Line (the British imposed border that splits the Pashtun tribes into Afghanistan and Pakistan). Malalai’s story is written into the fabric of Afghan independence from the British and has inspired tribal communities to continue fighting neo-colonial armies that have most recently occupied the country. Having a Pashtun father from Afghanistan, Malalai’s story of courage and resistance was one I first listened to as a young girl. The story involves ancestors of mine on both sides, as my mother is of Scottish heritage and her forefathers were British officers who were intent on colonizing the subcontinent. My maternal grandfather John was in the British Navy and would reiterate stories of his time as an officer, he would also point out that his grandfather fought against the Pashtun tribesmen in the Northern Frontier, my father’s people. Because I am not fluent in my father’s two languages: Pashto and Persian/Farsi/Dari, I could not understand my Agha Jan’s (grandfather) nor my Bibi (grandmother) stories. Storytelling and poetry are at the heart of Afghan identity; most stories, fables and myths are passed down inter-generationally from elders. This rich traditional of oral storytelling has been passed down through the centuries as an integral part of Pashtun culture (Rahimi, 2017). My father was raised by his grandmother for a part of his early life; my great-grandmother was a widow and very poor; she was illiterate; she always told him and his brothers animated stories that were once passed down to her as a girl. Malalai’s story was one of those. I imagined a young Malalai in the desert scenery of Kandahar located in Southern Afghanistan and was a cultural hub of Pashtuns, wearing a green dress, the green dresses that all Afghan women (myself included) wear at our nikah. I pictured her fearless approach to a sandy battlefield, kuchi nomads in the distance. The way I picture her facing the sun and walking toward a foreign enemy, one from another world, another culture and another way of life. Similarly, when Malala Yousafzai’s story began saturating news outlets around the world in 2012, my attention was piqued, not because of her resistance was met with violence, sadly, a common outcome for many activist women and girls in the region, but rather, because of her name. My family is also from the Yousafzai tribe which dominates the Swat Valley in north-western Pakistan. Hearing her name brought my own tribal identity and the stories of Malalai of Maiwand to the forefront. Connections

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have been drawn between Malalai of Maiwand and the modern-day Malala Yousafzai, another Pashtun woman from Mingora, Pakistan, who is herself named after her predecessor. Both Malala(i)s have been portrayed as anomalies, dismantling the stereotypical representations of oppressed, Brown Muslim women of the Global South, who are often viewed as exotic, illiterate and constrained by the gendered hierarchies of tribalism from the lens of the Western-imperialist gaze. The intertwining of their two stories effectively narrow the oppression narrative that defines the Western world’s conception of Afghan/Pashtun/Pakhtun/Pathan women, and Brown Muslim women in general as one homogeneous entity. This dangerous neo-colonial narrative furthermore has served to justify brutal military interventions, based on the neo-colonial discourses of girls and women’s rights and humanitarianism. The stories of Malalai and Malala can be mobilized to rethink and interrupt how Brown Muslim women and girls are taken up by the Western media, popular literature and white Western feminisms which habitually render such women and girls voiceless. While both Malalai and Malala encountered a bullet from colonial forces and are by-products of imperialism, their stories not only highlight the active resistance and agency of women and girls in the region against armed militias emerging from Western military imperialism but also offer possibilities to reimagine Muslim women and girl’s activism and leadership from an anticolonial framework. Throughout my life, Malalai’s story was always a beacon of pride and offered me inspiration when navigating various challenges throughout my life. This story always made me think about conquering the impossible and facing all of life’s many adversaries head on by drawing on her courage and sacrifice. I often thought about Malalai and her bravery following September 11, 2001 and her image against the backdrop of the media’s propaganda and narrative of the poor, oppressed Muslim woman forced to contend with her war-torn misery. What is often ironically omitted from this discourse is the fact that the culprit of her perpetual war-torn circumstances is solely the responsibility of the West. Moreover, I have always reflected on the symbolism embedded in this tale, a young Brown woman in hijab fighting colonialism and advocating for her freedom and being gunned down by cowardly white male colonizers. Despite her age (a teenager) and gender (especially at the time), Malalai was still regarded as a threat, a threat that was to be dealt with violently. Throughout my lifetime, especially as an adult woman, despite embodying white privilege by having fair skin, I have been time and again silenced and shut down by

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more powerful white men. These parallels are not lost on me, as I consider myself to be a driven ambitious woman, who must navigate gatekeeping mechanisms and nepotism, which favour white men and make space for white women, as an ‘other’. Educational systems, both pre-K-12 and higher education, operate as sites of colonialism, fraught with conceptions of belonging, knowledge and development that are framed through discursive practices of white supremacy that actively silence alternate paradigms of knowing and being in the world. Although the story of Malalai, narrated for generations through oral storytelling traditions, often during large family meals and gatherings, played a significant role in my identity and my affinity with literacy practices; this avenue of knowledge transmission is not recognized as ‘legitimate’ knowledge. This Western lens thus renders my great-grandmother and her animated storytelling and poetry, passed down through the centuries, illiterate and her stories irrelevant from the epistemological perspective of Western knowledge.

The Story(ies) This story is about two Pashtun/Pakhtun/Pathan women, whose stories, although taking place centuries apart, are connected across time, space and place. Both women have been instrumental to fighting the violence of Western imperialism, Malalai fighting the British and Malala fighting the Taliban, a by-product of the America’s covert involvement in the Afghan– Soviet war that took place between 1979 and 1989 (Ahmad, 2017; Coll, 2004; Rashid, 2010). The seeds were sown for the Taliban during British colonial rule, which Malalai fought with her life, this occupation led to the carving up of the tribal regions, where Malala calls home. The stories of both women cannot be dislodged from discourses of gender oppression, racism, colonialism and binaries between Muslim women and white Western women. In this case, empowered white Western women and disempowered Brown Muslim women. Although women and girls throughout the tribal territories have long resisted (often with their lives) the Taliban through clandestine schools and underground political movements, Western narratives continue to portray Muslim women and girls as passive, helpless objects in need of white saviourism (Amin & Alizada, 2020; Povey-Rostami, 2007). Malalai is a national Afghan (Pashtun) heroine who rallied Pashtun tribesmen led by Ayub Khan against British troops on 27 July 1880 at the Battle of Maiwand. The battle took place during the Second Anglo-Afghan

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War near Kandahar in Southern Afghanistan. Malalai was born in 1861, the daughter of a shepherd in Khig, Afghanistan, a local village in Kandahar. She was 18 at the time of the Battle of Maiwand, and the day of her death was also the day she was to be wed. The Battle of Maiwand was the second of three attempts by the British who occupied India to colonize Afghanistan. During the battle, when the British were winning and Afghans began losing momentum, some deserting the area, Malalai stood in front of the remaining fighters and recited a Pashto poem: “Young love! If you do not fall in the battle of Maiwand, By God, someone is saving you as a symbol of shame” (Halton, n.d.). Malalai then stepped onto the battlefield herself, singing a landai (a Pashto song) holding an Afghan flag and began advancing towards the British troops. The British gunned Malalai down, and she died on the battlefield. Her death inspired the Afghan tribesmen to victory against the British; her remains were buried in the village of Karez in Southern Afghanistan. The story of Malalai is also one of unity among Pashtun tribes, and therefore is not held in the same regard by all Afghans. Malalai’s story transcends borders and is shared by the Pashtuns of Pakistan. During the British occupation of the Indian subcontinent, the British were intent on implementing a divide and conquer policy on Pashtuns (also known as Pathans). Prior to the creation of Pakistani statehood in 1947, Pashtuns inhabited the regions bordering the Northwest Indian frontier, namely the cities of Peshawar, Quetta, Kandahar and Jalalabad. Pashtuns were divided by British officer Sir Mortimer Durand who carved up the tribal territories with the Durand Line, which now constitutes the international border between Afghanistan and Pakistan. Malala Yousafzai was born in Mingora, Pakistan, on 12 July 1997 and is widely known as an educational leader and activist. During the U.S.-led invasion of Afghanistan in 2001 following the September 11th attacks, Taliban soldiers began moving across the autonomous and often unrecognized Afghan/Pakistan border in order to expand their reach across the tribal belt. At this time, the Taliban took control of Mingora and banned women and girls from attending school. Malala was determined not to cede to Taliban demands and continued to pursue her education, while blogging about the barriers she encountered fighting for her education under Taliban rule on a blog in the British Broadcasting Corporation’s (BBC) Urdu site, starting in 2009. Taliban threats against her and her family became more potent once she was identified as the unnamed blogger in October 2012. Taliban soldiers boarded her bus shooting her in the

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head as she made her way home from school. Malala’s plight became highly saturated by Western media outlets, with contradictory portrayals of her, whereas she was infantilized as a schoolgirl and a victim, while also being depicted as a brave hero, an exception among Brown Muslim women and girls. Malala went on to be the youngest recipient of the Nobel Peace Prize in 2014 and was appointed as United Nations (UN) Messenger of Peace in 2017 (Malala.org, 2020). Malala’s resistance highlights imperialist themes such as the appropriation of women and girls’ rights, most notably, the right to education to justify invasive military and humanitarian interventions (Abu-Lughod, 2013), whereby women and girls must be saved (by white men) from violent Brown men (Chishti, 2014; Mojab, 2010; Osman & Zeweri, 2021). Because Malala is revered for her heroism by the international community, she is effectively held in higher standing than other Brown Muslim women of the Global South, as she challenges stereotypes and perceived norms of what Muslim women and girls ought to be within Western imaginations. As mentioned earlier, with respect to my great-grandmother and the stories she passed down to my father and from my father to me, and now to my own children, oral storytelling, folklore and poetry are foundational to Afghan/Pashtun culture and traditions. Pashtun tribes dominate south-­ eastern Afghanistan and north-western Pakistan. Pashtuns are governed by Pashtunwali, meaning the ‘way of the Pashtuns’, this code predates Islamic conquest and establishes the parameters of social, legal and familial life. In accordance with the code, all tribes are led by a ‘Khan’ or leader and disputes are settled by a jirga, a group of Elders, usually khans. There are various components of the code that functions similarly to legal principles, and these are used to govern both inter and intra tribal relations. During ceremonies, such as a nikah, Eid, Nowruz, or communal meetings, stories, folklore, myths and poetry are actively shared. These literacy practices, as well as Pashtunwali itself, are perpetuated through inter-­ generational oral storytelling, not by written documentation. While much of Afghan society is considered ‘illiterate’ by Western standards, with UNESCO (2020) reporting that some 43 per cent of the Afghan population is literate, this statistics vastly underrepresent the vast majority of Afghans who are active and engaged participants in non-Western literacy practices. In tandem with the saliency of oral story-telling in my culture, the information detailed concerning Pashtunwali and its tenants cannot be cited in the traditional, colonial method, as this knowledge has been passed down from my father and uncles.

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Country of Origin: Southern Afghanistan and northwest Pakistan, Khyber Pakhtunkhwa (Pashtun region of modern-day Pakistan formed after the 1947 Partition of India)

Objective/Meaning/Take-Away Message The enduring message of the two stories is the recentering of Brown Muslim women and girls’ leadership and resistance as central to anti-­ colonial resistance. Through the hegemonic Western lens, Pashtun women and girls have been objectified as oppressed and helpless, while frontline women’s resistance to imperialism has been vastly ignored by Western feminism (Akseer, 2015). The narrative of the ‘plight’ of Afghan women in particular has rather been utilized to justify ongoing domination of Afghanistan. The story reclaims Afghan women’s role in anti-imperial and anti-colonial struggles in Afghanistan through an anticolonial and transnational feminist framework (Berry, 2003; Dei, 2010; Grewal, 2005; Wa Thiong’o, 1986; Wane, 2008). Malalai’s story re-positions Brown Muslim women as central to anti-colonial political and educational movements in the tribal regions of Afghanistan and Pakistan and carves out a narrative of resistance that dismantles hegemonic Western ideas, and portrayals of Muslim women and girls have had and continue to perpetuate devastating consequences. The West controls the ways in which these narratives are mass produced and conveyed in order to deflect notions of power and the ways in which power and dominance are monopolized to displace Black and Brown bodies in the all-encompassing campaign of neo-colonial and capitalist exploitation. In this juncture, whiteness is innocence and humanized within its saviourism, most notably, George Bush’s notorious ‘War on Terror’ that justified itself through a deficit lens concerning Muslim women and girls. In this case, violence was commissioned based on the need to ‘save’ the oppressed, Brown, burka-clad women and girls (Abdelkarim, 2021; Elhinnawy, 2021). What these dominant narratives often ignore is that militant groups, the Taliban in this case, are by-products of Western imperialism (Ahmad, 2017). Malala follows the lead of Malalai and countless generations of women and girl activists who came before her, who risked their lives and the lives of their families in order to run covert underground schools to continue their education (Povey-Rostami, 2007). Women and girls have not only long advocated for their rights, but have been instrumental to rebuilding communities, which have been displaced by conflict, through solidarity. The

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overarching challenge in creating access to education, particularly for women and girls, is ongoing, chronic conflict and foreign meddling. Prior to the Soviet Union’s devastating invasion of Afghanistan, access to education for women and girls, especially in urban areas, was near universal. Historically, access to education was restricted along ethnic lines that often and unfortunately marginalized the Hazara population. The hegemonic Western discourses that suggest that Islam is incompatible with women’s education are deeply inaccurate and flawed and work to perpetuate harmful ideas of Muslim women and girls and the men in their societies (Khurshid, 2017). Universities and institutions of higher education were also open to women; my grandmother herself graduated from Kabul University as a nurse. Following the Soviet invasion, a multi-ethnic and multi-tribal, heterogeneous Afghan population united through their shared religion of Islam, under clandestine CIA policy, in stark opposition to an atheist communist regime that defined the USSR at the time (Coll, 2004; Griffin, 2001; Maley, 1998; Rashid, 2010). Upon the USSR’s withdrawal from Afghanistan, after decimating the country and committing what is considered genocide against the Afghan people, a power vacuum existed enabling a civil war and the formation of various factional warlords that sought to carve up the country based on ethnic identities. As many young orphaned refugees returned home after being indoctrinated into madrassas abroad, having been immersed in variations of Islam uncommon to Afghanistan, the Taliban was formed in Kandahar under the leadership of Mullah Mohammad Omar, himself a veteran of the war. Many of the talibs (students) had grown up only knowing war and their version of Islam, based upon the Deobandi School of Thought (Maley, 1998), with no knowledge of the old Afghanistan that under the monarchy was considered one of the most peaceful countries in Asia (Ataullahjan, 2021). Due to the radicalization of the Taliban government, once revered for bringing peace and order, women and girls were pushed out of public life and began creating complex underground educational networks to empower one another. Afghan women and girls continue to battle the challenges and barriers they face in accessing education because of Western military imperialism, which catastrophically disrupted decades of tribal life and self-sustainability. In addition to the establishment of comprehensive underground educational systems, Afghan women also formed the Revolutionary Association of Afghan Women (RAWA) as a framework for women’s political activism in the country. The organization was founded by Nahid-i-Shaid and Meena Kamal, who were both killed, but the

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organization thrives on the backs of new generations of Afghan women and girls through various health and educational programmes (Brodsky, 2009). There is a much needed discussion that must take place concerning the diversity of Muslim women and girls, as the assumption that a singular Muslim woman’s experience is pervasive (Khurshid, 2017). Moreover, the hegemonic narrative of a singular experience is further perpetuated by the ubiquity of white authors (mostly women) writing about Brown Muslim women and girls. These books effectively exoticize the lives of Muslim women and girls and further reinforce harmful colonial stereotypes of gender binaries, oppression and backwardness (Sensoy & Marshall, 2010). Sensoy and Marshall (2010) critique how white Western narratives of Muslim girlhood ultimately perpetuate orientalist norms of the Occident/ West being innately superior to the Orient/Middle east/south Asia (Said, 1978). The authors discuss how these colonial relationships play out in The Breadwinner, a book about a young girl in Taliban-­led Afghanistan, written by a white Canadian woman. They refer to this phenomenon as ‘missionary girl power’, to describe ‘strategies that construct first world girls as the saviours of their “Third World” sisters’ (p.  296). While the term Third World, in and of itself, is problematic and outdated, the term that will be utilized is the Global South. Books and media narratives that frame the lived experiences of, and speak for Brown Muslim women and girls further to erase their political activism, agency and resistance, the likes of which white Western women cannot fathom. In order to recentre the lived experiences of leaders and activists such as Malalai and Malala through counter stories, the following lesson plan encourages students to undertake their own research in order to counter hegemonic constructions of Muslim girlhood. These Orientalist discourses, widely played out in the media, depict Islamic societies as perpetually ‘backward’, confined to the past and unable to evolve. In this vein, all social ills and control mechanisms are attributed to the men in their societies who are predisposed to violence and brutality. This narrative was compounded with Western media and saturated images of Afghan women being flogged, stoned and shot in execution style in soccer stadiums. The ultra-masculine warlords that characterize all Muslim men in the eyes of the West force veiling on women, while conveniently silencing the hijab as political resistance, as well as the trauma enacted by European colonizers in the forced and public unveiling ceremonies of Muslim women and girls (Falecka, 2017). These colonial media depictions perpetuate harmful, deficit perspectives of all Muslims as extremists, whilst

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wilfully ignoring the devastating impacts and repercussions past and ongoing colonial and imperialist projects have across the Islamic world.

Lesson Plan The title of the lesson is Malalai of Maiwand, Malala Yousafzai: Challenging how Muslim girlhood is depicted in mainstream media. Why and How This Story Matters to You Across Time and Space: Malalai and Malala’s story hold significant meaning to me on a personal level because they represent tales of anticolonial resistance to brutal colonial powers that have and continue to wreak violent oppression upon the region. While the British classified Pashtuns/Pathans as ‘barbaric’ and as one of the six martial races of the Indian subcontinent (Imy, 2019), Americans and allied troops depict Afghan men as culprits of brutal gender-­based violence against women and girls. The British and U.S.backed military initiative therefore justified colonial intervention in the region based on white saviourism, the notion that peoples of the subcontinent needed to be civilized and women in particular needed to be saved from Brown men. In this vein, Muslim women and girls have been routinely exploited and politicized by Western mass media and propaganda as helpless, illiterate and submissive victims in dire need of rescue from Muslim men (Bhattaacharyya, 2008; Freire, 2000; Said, 1978). Thus, Muslim women and girls are viewed by Western public as victims of Muslim masculinity, rather than political violence and displacement emulating from Western imperialism. The veil, far from one of oppression, has long been a symbol of political and social activism to resist colonialism, Western imperialism and Islamophobia. For many Muslim women and girls, the hijab or veil is a mechanism to reclaim identity and resist conformity to Western norms of empowerment (Jain, 2021). The narrative of the oppressed Afghan woman marginalizes the histories of a very liberal Afghanistan up until the 1979 Soviet invasion, the Afghanistan that my father and grandparents grew up. This narrative has effectively been lost, forgotten and discarded, as I look at the countless photographs in my childhood home of a very different Afghanistan, precious relics of an era long past. In August 2021, I returned to the photos as menacing images of the Taliban’s black turbaned soldiers saturated news outlets around the world as they once again took control over Afghanistan. Muslim

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masculinities are innately associated in the Western imagination with terrorism, fanaticism and cruelty, all of which silence deadly drone attacks, widespread civilian murders and human rights abuses by the United States, Canada and other Western nations. Further downplayed and outright ignored is the role of Western military imperialism in creating armed groups, such as the Taliban and ISIS (Walters, 2016). Foreign humanitarian aid in Afghanistan has and continues to be weaponized to export Western notions of democracy and capitalism as dominant ideology (Fleck & Kilby, 2010). Central to humanitarian endeavours in the (re) building of Afghanistan are education initiatives for Afghan women and girls in particular. Women and girls’ rights, notably the right to education and access to schools, have served as mobilizing forces to wage war on Afghanistan, most notably the Global War on Terror (GWOT). Access to education for women and girls and Western occupation are inexplicably connected to the Western saviourism paradigm, where the saving of Afghan women became a key justification for American and European military intervention. In a contradictory and cruel move, it was announced in February 2022 by President Joe Biden that an executive order was signed to split up 7 billion US dollars from Afghanistan’s central bank to pay reparations to the families of September 11th, 2001 victims. This order despite the fact that not a single 9/11 perpetrator was Afghan (Al-Jazeera, 2022). Thus, the humanitarian argument to ‘help’ and ‘save’ Afghans falls short as it did before when the United States abandoned Afghanistan following the Soviet war, a clandestine war fought by Afghans and funded largely by the United States (Coll, 2004). Malalai and Malala effectively recentre the decades of leadership and resistance feminists themselves were actively fighting the Taliban since 1996. Afghan women and girls, from the British colonizers to the Soviet invaders and the current US-NATO imperialists, are time and again viewed as subservient to their male family members by white Western views of feminism (Akseer, 2015; Mojab, 2010). This is not to argue that patriarchal hierarchies were non-existent prior to Western imperialism, but rather to assert that gender inequities have been exacerbated and reinforced through the West’s ongoing neocolonialism and militarism in the region (Akseer, 2013; Brooks & Hesse-Biber, 2007). Malalai of Maiwand’s story provides a space to resist these harmful narratives of Muslim women and girls to re-imagine Brown Muslim girlhood and feminisms as anti-colonial activism and leadership.

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As students across Ontario and Canada are increasingly Black, Indigenous and racialized, it is critical that pedagogical practices and epistemic norms that privilege whiteness and Western ways of knowing are dismantled and space is made for non-Western knowledge sources. When thinking about biases, whether conscious or subconscious and discussing these biases with students, learners must be challenged to critically explore the positionalites within complex webs of power relations, such as questioning the lenses through which knowledge production occurs and is mobilized. Western literacy practices must be interrupted and re-imagined to centre oral storytelling and the importance of elders in conveying knowledge from a community lens, rather than a top-down bureaucratic approach. As long as schools remain institutions of colonialism, the global majority’s (Black, Indigenous and other racialized people) rich epistemic traditions will be marginalized and silenced, thereby classifying conveyers of non-Western knowledges, as much of the Afghan population is considered through Western definitions, ‘illiterate’. Curricula that uplift and centre the many contributions of non-Europeans must be created with consensus of the community as a collaborative approach rather than white supremacist, Orientalist narratives and representations of the ‘other’.

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Activity Plan Malalai of Maiwand, Malala Yousafzai: Challenging how Muslim girlhood is depicted in mainstream media

Subject(s): Language Arts-Media Literacy (Grade 8) LEARNING EXPECTATIONS: 1.2 Making Inferences/Interpreting Messages “interpret increasingly complex or difficult media texts, using overt and implied messages as evidence for their interpretations” (Ontario Language Arts Curriculum, 2006, p. 147). 1.5 Point of View “demonstrate understanding that different media texts reflect different points of view and that some texts reflect multiple points of view” (Ontario Language Arts Curriculum, 2006; p. 148).

TIME: Activity Description and Details:

• 15 minutes (Whole class)

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30 minutes (Small groups)

•

Popcorn activity-what are some common stereotypes about Muslim women and girls? Where do you think these stereotypes come from? Display images and media of Muslim women using a variety of sources (footage from the news depicting Muslim women, advertisements, photos of Muslim women in magazines, popular books, television shows, etc.) Think/Pair/Share: How are Muslim women and girls portrayed by the media? Jot ideas down on chart paper Introduce task: Malalai Yousafzai (most students will be familiar with her) and Malala of Maiwand- in small groups, students will document key moments in their lives and their contributions In small groups students will research Malalai and Malala and answer the following questions: 1. How is Malalai of Maiwand remembered, is there a lot of information readily available about her? How is she written about and/or remembered? 2. How is Malala Yousafzai portrayed by the media (explore three different websites that have information about her), is her portrayal similar or different to the representations of women and

RESOURCES/MATERIALS: -Laptops -Books, magazines, journals -Chart paper and markers

GROUPINGS:

X. Students working as whole class  Students working in Pairs X Students working in small groups Students working individually

TEACHING/LEARNING STRATEGIES:     X.

  X

          X.



Debate Oral Presentation Reader’s Theatre Role Playing Discussion Interview Literature Circles Think/Pair/Share Advance Organizer Book Talks Conferencing Guided Reading Guided Writing Independent Reading Portfolio Reading Response Reflection Response Journal Brainstorming Other: _______________

ASSESSMENT STRATEGIES:     

Classroom Presentation Conference Essay Exhibition/Demonstration Interview

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Z. ABAWI girls we explored, why or why not? 3. Do the representations of both women demonstrate agency, advocacy and leadership? 4. Who is writing these pieces/representing these women, what is their positionality and why does this matter? Jot your preliminary ideas and observations on chart paper and note your sources

.

15 minutes (Whole class)

Whole class discussion on findings and address the following: Do Malalai and Malala challenge the stereotypes and dominant images of Muslim women we explored at the beginning of the lesson? Why might these stereotypes be mainstream? How might their stories be mobilized as counter stories to challenge mainstream Western media portrayals and white feminist perspectives that try to speak about and for Muslim women (think about the text Breadwinner read in grade 5) Why might stories, images, and advertisements depicting Muslim women and girls as strong and empowered be ignored in the media? What questions do you have?

    X

    

Learning Log Observation Performance Task Portfolio Question and Answer (Oral) Quiz, Test, Examination Response Journal Select Response Self-Assessment Other: _______________

• • • • •

ACCOMMODATIONS:

• • • • • •

Increased time Teacher scaffolding Speech to text software Scribe Quiet space Flexible groupings

MODIFICATIONS:

• •

Research one of the women (Malalai or Malala) and focus on how that individual challenges the stereotypes we discussed and how Using technology, choose a media literacy representation that challenges the stereotypes we discussed about Muslim women and girlhood

ASSESSMENT RECORDING DEVICES: X.

   

Anecdotal Record Checklist Rating Scale Rubric Other: _______________

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HOMEWORK:

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TEACHER REFLECTIONS:

Research a major contribution from a N/A Muslim woman or girl, this might be a scholar, doctor, activist, researcher, artist, etc. Be prepared to present about this individual and their contribution and how her accomplishment(s) and story counter dominant media stereotypes about Muslim women and girls as passive and helpless.

References Abdelkarim, S. (2021). Afghan Women and Resistance to the War on Terror. Verfassungsblog. Retrieved from https://verfassungsblog.de/os1-afghanwomen/ Abu-Lughod, L. (2013). Do Muslim Women Need Saving? Harvard University Press. Ahmad, A. S. (2017). Jihad and Co: Black Markets and Islamist Power. University of Toronto Press. Akseer, S. (2013). Afghanistan: Formal Education-A Contested Terrain. In M.-E.-R. Ahmed (Ed.), Education in West Central Asia (pp. 1–20). Bloomsbury Publishing. Akseer, S. (2015). Learning in a Militarized Context: Exploring Afghan Women’s Experiences of Higher Education in ‘Post-Conflict’ Afghanistan. Unpublished Thesis, University of Toronto, Toronto, ON.

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Aljazeera News. (2022). Biden Signs Order to Secure Afghan Funds for Aid, 9/11 Families. Aljazeera News. https://www.aljazeera.com/news/2022/2/11/ us-­biden-­to-­split-­frozen-­afghan-­funds-­between-­9-­11-­families Amin, S.  N., & Alizada, N. (2020). Alternative Forms of Resistance: Afghan Women Negotiating for Change. Journal of International Women’s Studies, 21(6), 358–375. Ataullahjan, S. (2021). Decades of Shattered Peace and Occupation Triggered Instability and a Power Vacuum That Allowed the Taliban to Emerge. The Conversation. https://policyoptions.irpp.org/magazines/august-­2021/ afghanistan-­graveyard-­of-­empires-­was-­once-­beautiful-­vibrant-­and-­safe/ Berry, K. (2003). The Symbolic Use of Afghan Women in the War on Terror. Humboldt Journal of Social Relations, 27(2), 137–160. Bhattaacharyya, G. (2008). Dangerous Brown Men: Exploiting Sex, Violence and Feminism in the War on Terror. Zed Books. Brodsky, A. E. (2009). Multiple Psychological Senses of Community in Afghan Context: Exploring Commitment and Sacrifice in an Underground Resistance Community. Journal of Community Psychology, 44(3-4), 176–187. Brooks, A., & Hesse-Biber, S. N. (2007). An Invitation to Feminist Research. In S. J. N. Hesse-Biber & P. L. Leavy (Eds.), Feminist Research Practice: A Primer (1st ed., pp. 1–26). Sage Publications. Chishti, M. (2014). Post-conflict Afghanistan: A Post-colonial Critique. University of Toronto. Coll, S. (2004). Ghost Wars: The Secret History of the CIA, Afghanistan, and Bin Laden, from the Soviet Invasion to September 10, 2001. The Penguin Press. Dei, G. J. S. (2010). Fanon, Anti-Colonialism and Education: An Introduction, Chapter 1 in Fanon and the Counterinsurgency of Education. Sense Publishers. Elhinnawy, H. (2021). Afghanistan: The West Needs to Stop Seeing Women as in Need of ‘saving’. The Conversation. https://theconversation.com/ afghanistan-­t he-­w est-­n eeds-­t o-­s top-­s eeing-­w omen-­a s-­i n-­n eed-­o f-­s aving-­ 170731 Falecka, K. (2017). From Colonial Algeria to Modern Day Europe, the Muslim Veil Remains an Ideological Battleground. The Conversation. https://theconversation.com/fr om-­c olonial-­a lgeria-­t o-­m oder n-­d ay-­e ur ope-themuslim-­veil-­remains-­an-­ideological-­battleground-­70242 Fleck, R. K., & Kilby, C. (2010). Changing Aid Regimes? U.S. Foreign Aid from the Cold War to the War on Terror. Journal of Development Economics, 91, 185–197. Freire, P. (2000). Pedagogy of the Oppressed. . Grewal, I. (2005). Transnational America: Feminisms, Diasporas, Neoliberalisms. Duke University Press. Griffin, M. (2001). Reaping the Whirlwind: The Taliban Movement in Afghanistan. Pluto Press.

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Halton, P. (n.d.). Malalai of Maiwand. https://philhalton.com/2019/01/15/ afghanistan-­malalai-­maiwand/ Imy, K. (2019). Faithful Fighters: Identity and Power in the British India Army. Stanford University Press. Jain, K. (2021). Why Some Muslim Women Feel Empowered Wearing Hijab, a Headscarf. The Conversation. https://theconversation.com/why-­somemuslim-women-­feel-­empowered-­wearing-­hijab-­a-­headscarf-­155110 Khurshid, A. (2017). ‘Disempowering’ Empowerment of Muslim Women: The Western Discourses of Muslim Womanhood, Muslim Families, and Islam. Maydan. https://themaydan.com/2017/07/disempowering-­empowermentmuslim-­women-­media-­images-­malala-­yousafzai/ Malala Fund. (2020). https://malala.org/malalas-­story Maley, W. (1998). Fundamentalism Reborn? Afghanistan and the Taliban. Hurst. Mojab, S. (2010). Introduction: Gender and Empire, Comparative Studies of South Asia, Africa and the Middle East, 30(2), 220–223. Osman, W., & Zeweri, H. (2021). Afghan Women Have a Long History of Taking Leadership and Fighting for Their Rights. The Conversation. https://theconversation.com/afghan-­w omen-­h ave-­a -­l ong-­h istory-­o f-taking-leadershipand-­fighting-­for-­their-­rights-­167872 Rahimi, F. (2017). Landay as the voice of Pashtun women’s passion and social life. Journal of Research Initiatives, 2(3), 1–10. Rashid, A. (2010). Taliban: Militant Islam, Oil and Fundamentalism in Central Asia: Second Edition. Yale University Press. Rostami-Povey, E. (2007). Afghan Women: Identity and Invasion. Zed Books. Said, E. (1978). Orientalism: Western Conceptions of The Orient. Penguin Books. Sensoy, O., & Marshall, E. (2010). Missionary Girl Power: Saving the ‘Third World’ One Girl at a Time. Gender and Education, 22(10), 295–311. UNESCO. (2020). Interview: “Literacy rate in Afghanistan increased to 43 per cent”. Institute for Lifelong Learning. https://uil.unesco.org/ interview-­literacy-­rate-­afghanistan-­increased-­43-­cent Wa Thiong’o, N. (1986). Decolonising the Mind: The Politics of Language in African Literature. Heinemann. Walters, R. (2016). ‘Shot Pakistani girl’: The Limitations of Girls Education Discourses in UK Newspaper Coverage of Malala Yousafzai. The British Journal of Politics and International Relations, 18(3), 650–670. Wane, N. (2008). Mapping the Field of Indigenous Knowledges in Anticolonial Discourse: A Transformative Journey in Education. Race and Ethnicity in Education, 11(2), 183–197.

CHAPTER 5

Theorizing the Power of African Oral Culture for Identity Formation Osholene Oshobugie Upiomoh

Objectives • To explain the importance of Identity and what it is from the perspective of African people, using my culture as a frame of reference. • To highlight how this Identity can be taught to children from a very young age.

Introduction From a subjective location of an African Indigenous educator and storyteller for children and families arrives the lens through which this chapter is prepared. The scholarship that informs this writing is also from an

O. O. Upiomoh (*) Social Justice Education, OISE, University of Toronto, Toronto, ON, Canada e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_5

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experiential practice where my daily life as a scholar is governed by my African Indigenous knowledge, culture, principles, and spirituality. I, the writer, Osholene, therefore express this chapter in my African Indigeneity to speak on the power of the African oral tradition of using proverbs for identity formation. The reason that I have chosen to focus on the theme of identity is because it addresses the questions about what our goal (purpose) is, where we are from (our origins), and where we are going to (direction), and these questions in our African traditional Indigenous context is what gives us a foundational knowledge of who we are (Morodenibig, 2005, 2011; R. Boumaaktem, personal communication, March 9, 2021; Shenmira, 2016a). With the modern education now dominating the world, the question of where we come from and why we are here is a reality that we have all become acquainted with. It seems like, with the more colonial education that we receive, the more disconnected we become from the knowledge of ourselves. As a result, the modern colonial education has created colonized educated, confused people of diverse origins. We should then not wonder why the society that we have today presents itself so, with a lack of direction and presence of confusion. Might it be that the colonized education, which defines as an education system in favor of the colonizer and imposed by them in countries where they colonized, fails to build respectable societies of people with sound identities? Or was it the agenda all along to build confused individuals that lack logic and history so that they would be easily manipulated to the colonizers’ will through emotions? (Hilliard-III, 2000; Mucina, 2011a, b; Woodson, 1990). For example, in my reflection and experience, I ponder upon how one could explain why and how a 40-year-old man or woman in the modern colonial context, having received a modern education, still wonders to themselves, “who am I and what is the purpose of life?” When, at the same time, a child in the villages of traditional Africa has it figured out to a large extent because of their traditional African Indigenous education. This, I present to you, my dear readers, as a food for thought. For, before I returned to my African Indigenous ways, traditions, culture, spirituality, and education, my lived experience within the colonial culture and religious context was basked in identity confusion, which cost me great pain and lots of missed experiences. As Hasati (2021) says it best, “The

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question of identity is prominent in modern society, where most have been disconnected from natural principles” (para. 2). Hence, in this chapter, I have chosen to use a few African proverbs from my culture of the Edo people, located in Nigeria, Western Africa, to speak to the significance of identity formation as defined by my culture.

Foundation of Identity within the African Indigenous Culture Within the African Indigenous culture, our ancestors are the foundation of who we are and who we are to become (Hasati, 2021; Meniooh, 2010; Morodenibig, 2005, 2009, 2011; Morodenibig, 2012; Shenmira, 2013; Washhek, 2016; Wasseker, 2019). We acknowledge, honor, and validate that they are the pillar on which our identity is grounded. Taken further within the African culture is questions about our spiritual and physical obligations, which is tied to our identity, and this identity is what impacts the destiny that we have each come to fulfill (Shenmira, 2007, p. 44). However, for African people or people of African descent who experience the plight of the fatherless where on a spiritual level, a foreign white man has been adopted as father, and on a physical level, our family systems have been destroyed, one wonders what becomes of a person’s identity that lacks a true family for foundation, hence, no attention is paid to ancestry (R. Boumaaktem, personal communication, March 7, 2021; Sakuhai, 2020). Paige’s (2019) words added to this conversation by emphatically asserting that we, Black/African people are the primary victims of identity theft as a result of the violent uprootedness from our homelands, separations, and destruction of our families. Hence, prolific research is required to find our lost knowledge of selves (Paige, 2019). To make a miniscule contribution through this chapter to find this knowledge of self in relation to our Ancestors and traditional communities, on which our identity is grounded (Sakuhai, 2020; Shenmira, 2013, 2016a), I demonstrate herein the utilization of some African proverbs that enables an identity formation which is aligned in perfect harmony with the principles of Nature. Through simple proverbs expressed, it is my wish that we can see the power of African oral tradition as a powerful educational tool utilized to enstool wisdom that grounds our identity, making it possible to build thriving communities

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as it was done in our African traditional past, even to this day (Achebe, 1994; Chinyowa, 2001; Mucina, 2011a, b; Mutwa, 1964; Okpewho, 2004; Tuwe, 2016; Wane, 2008).

Proverbs as Speech for Africa Indigenous Societies The use of speech in the African Indigenous context is held very highly (Achebe, 2012; Carruthers, 1995) and a person’s wisdom is perceived in accordance with the content of one’s word in alignment with their character and history (Morodenibig, 2005, 2011; Morodenibig & Shenmira, 2018). Sacredness is also attached to the use of words as speech for the powers that it holds within our African cosmogony and spirituality (Carruthers, 1995; Morodenibig, 2005, 2011). Hence, in our Indigenous context, a child is raised with the use of speech for the power of creativity that a quality speech provides. A child is familiar with the use of speech, not as a mundane communication tool, but for the ability and power for the speech to bring into existence objects, events, or ideas from the non-­material world and to communicate with this non-material world of his/her ancestors. For example, what looks like a simple act of picking herbs is preceded by a speech which offers honor and seeks permission to the spirit of that plant that is needed to heal an ailment. I also grew up knowing to be cautions of what comes out of my mouth as it is through words that we make, build, or destroy— so we never cursed (use of words to inflict harm) even as children. Life and death are in the power of the tongue that makes those words and in the hearts that thinks of them. But the words that come, which cannot be returned, have such an impact within the African cultural thought that may be understood by the modern world as “spells” or “chants.” Through these words, we travel through the material and non-material planes, which for African people is not separated from each other. Through these words, as a child, I understood that it is used as a solemn utterance to invoke supernatural powers in order to create, heal, make whole, destroy, inflict harm, or punish. These were my practical experiences to how we understood words to mean. It is this understanding that gave us, as children, a chance to become like the elders, whose words and speeches are carefully sought and garnished in alluring proverbs, which provide for the brain the thinking exercise it requires for its intelligence.

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Consequently, we never had, like it is observed today, the popular pattern of people speaking just for the purpose of being heard. Hence, fine words are held in an utmost exquisite esteem within the African Indigenous context where “conversations are regarded very highly, and proverbs are the palm oil with which words are eaten” (Achebe, 1994, p. 7). It becomes the goal of every child in the tradition, as they grow, to master the means of proverbs as a communication tool, and significantly, an indication of wisdom and fine speech.

African Proverbs for Identity Formation The Weppa-Uwanno clan, which I am from, are the children of the Edo people currently located in West Africa today. Hence, my people are Weppa-Uwanno. The language that we speak is known as Etsako. I was speaking with one of my many fathers, where among many things, we discussed about the family, home, our traditions, and customs. In discussing about home and in response to a question that I asked about our identity as a people, he reminded me of the teachings of our elders and customs. In our language, he shared the following: Ebe bu the ye kpo, Amieme ni kho. The meaning of this proverb which he shared with me is deeply rooted in one’s ancestry and ancestral knowledge of self. This literally translates to: It matters not where you go in the whole wide world, there is nothing that is greater than home. While I reflect on this, I further reflected on my previous engagement with Iyeh (mother) Mercy Iyamu, who is an Edo Language Instructor with the Toronto District School Board (TDSB), and an accredited Edo Language Interpreter. In the Benin language of the Edo people, she shared with me a proverb: Amazevbuomwan awiri. In this proverb meaning, the Benin language and culture teaches us that we are lost without speaking our language. The Benin people also say that No matter how long a log stays in the river, it does not become a crocodile. Another African proverb that comes to mind at this point is one in which the elders say that The poorest man in the world is not the one without money, but the one without people. However, for the purpose of this chapter, focus will be on the first proverb which will be analyzed in detail with an activity provided to support the teaching of identity that it provides.

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Objective of the Proverbs/Meaning/ Take-Away Message While some of our homes have been ravaged by wars, and the corruption of the modern system where colonial values have seduced our people to forsake traditional ways as they embrace the colonial modern culture imposed upon them, the result is the turmoil that we see in the world and in our homelands today. For example, Nigeria, through economic and political instability via its current colonial impositions, continued exploitation of Nature and its natural resources, and the foreign invasions still ongoing through wars force people to currently leave their homelands in agony. However, the tradition of the African Indigenous people is being preserved and still exist in pockets of the same homelands ridden by corruption and war. It is we that must seek the tradition outside the convenience and comfort of the amenities of the modern colonized or colonial world if we choose to return to our traditional ways. To begin with the analysis of the first proverb, it speaks of home: It matters not where in the whole-wide-world that you go, there is nothing that is greater than home. Home for Indigenous African people represents family, culture, traditions, and values which are the foundation of a human being (Morodenibig, 2005; R. Boumaaktem, personal communication, March 7, 2021). This means that home is not only in terms of the physical location of home but also very importantly in terms of the civilizational values and traditions of one’s culture which governs our origins and identity. To this, our elders teach us that “A person has no other identity than his or her history and culture and cannot develop harmoniously if he/she does not choose to build their own destiny based on their own civilizational values” (Wasseker, 2019, p. 6). Consequently, herein in this chapter, I acknowledge that our identity within our tradition, irrespective of where one goes, is given meaning based on our cultural values of where we come from. Our identity question is governed by drawing on our own African Indigenous knowledge, culture, and civilization to arrive at answers in ways that are consistent with our people. This is because within our traditions, it is understood that everyone has a history, and the concept of self is intertwined with that history which began before the person was conceived. Also, the child comes into this world already with gifts and a mission to accomplish. Hence, the goal of the traditional society is to help that child be and accomplish what they have come from the spirit world to do here on earth. In this sense, everyone comes to earth with a mission. This is

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contrary to the modern world where identity is fluid and people believe that they can be anything that they want to be with the embrace of ambitions. Therefore, as the proverb indicates: “It matters not where you go, there is nothing that is greater than home.” This proverb speaks to not only our physical and Ancestral Land that is home to us but also to the culture, tradition, and spirituality that informs our identity, thoughts, and behaviors, irrespective of where we are. Proverbs as teaching tool in the African Indigenous culture is contained in the language that carries the wisdom of its people, and every ethnic group have their own share of this wisdom (Dicks, 2006). When Iyeh Iyamu expressed in the Edo language that “we are lost without speaking our language,” it is because language is regarded sacred as it is a means by which culture is transferred from one generation to the next (Jhutyms, 2016). Inherent in culture is the identity of the people transferred from one generation to the other through the use of language. The importance of language can be seen in the story of our well-respected elder, Ngugi wa Thiong’o, who wrote and staged a play in 1977 providing awareness of the political happenings of his time in Kenya. However, he was imprisoned, not for the message that he communicated, but for the reason that the local actors performed in their native language instead of in English (Paulson, 2021). For those whose success in this modern world lies in the ability to colonize the rest of the world, we can see that the simple act of speaking in one’s mother tongue or Indigenous language is a revolutionary behavior (Paulson, 2021). Those who enforce preference for the colonial language understands that without our language, we are lost. When we are lost, we are easy to be manipulated and used as colonial projects, intentionally or unintentionally. According to current colonial disruptions of our Indigenous lands, alongside reports from the United Nations and UNESCO, reflecting on how fast Indigenous languages are disappearing, one wonders why African Indigenous proverbs as the act of refine and fine speech is currently rare and disappearing as well. There was a time when these proverbs, stories, and folklores were a part of everyday speech. However, there is currently a great danger that these proverbs will gradually stop being used by people (Dicks, 2006). We could only imagine the richness of our languages when spoken in proverbs, hence, challenging our brains to think. In relation to the above stated and analyzed proverb, we can see and imagine what happens to a child if he or she grows up with these teachings imbedded in them at a tender age. The child grows up to understand that it is our identity grounded in our culture and spirituality,

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families and ancestral values that define us, preserve us from being lost, insecure and oblivious to the greater distractions or false realities that impose themselves on our very existence (Hasati, 2021). For in losing our language, our oral culture of proverbs will be lost, further impacting our spiritual ceremonies which connect us to the non-material world where our identity formation comes from. During spiritual ceremonies, our Ancestors communicate in proverbs to us. It becomes unbearable for the human being when they struggle to comprehend what is communicated through an Ancestral proverb that would enable them to navigate through their life experiences based on their identity of heritage. The implication of this information is that without our identity, grounded in our culture to define us, we end up seeking the validation and definition of our place in the world among those who do not have our best interest at heart (Oshobugie, 2019). We then begin to seek an identity that is not our own, but the identity of those who have defined every aspect of our lives within their own colonial context (Oshobugie, 2019). To experience how an Indigenous African child learns and lives with an identity that is their own, I encourage us to practice the prepared activity plan below known as African Identity Activity (AIA).

Conclusion: The Invaluable Significance of the African Identity Activity (AIA) You see, at the age of six, most African Indigenous children would have been grounded in a knowledge of self; rooted in more than fourteen generations deep on both sides of their family lineages: the bloodline and the destiny line through the process of African Indigenous education which begins at home with the mother. The mother takes time to teach the child about their family members, the family principles, values, taboos, and traditions of the culture for which the family and clan belongs. Identity for the African Indigenous child goes well beyond our parents, but deeply rooted in our forebears—Ancestors, cultures, traditions, communities, and villages. Hence, the concept of Identity Crisis was only recently a problem which is sweeping across the colonized African territories. I remember that a big part of this identity crisis as observed in my experiences and some of others, was linked to how uncomfortable I began to feel when in my teens and twenties, I had to tie my identity to a white man who looked nothing like me or my people. This white man was supposed

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to be my God and the basics for all my identity and ways of being, learning, and doing. In saying this, I am particularly recommending that the concept of identity for an African child should not be approached through this lens or be limited in this manner. However, through this activity, the children will connect to their family tree and the gifts or talents that are present with and within them. It is for this reason that the proverbs and AIA presented herein, in this chapter, is significant. The proverbs, along with the AIA can be used in our current society both in schools and in our communities as an educational tool to instill in our beautiful African children, globally, the beauty and soundness of their Ancestral ways which is imbedded in their African Indigenous culture that holds their identity with pride. This powerful teaching of the identity of self is found in the power of our African Traditional oral culture! An understanding of identity grounded in this equips the African child to address the current societal issues of racism, sexism, classism, and all the “isms” from a place of power rooted in their Indigenous worldview. For example, the knowledge of my self tied to the cultural identity of how and why my people are the people of the Land and of the rivers enables me to just be myself based on my cultural frame of reference instead of defending it or trying to be similar to what is acceptable in the mainstream society. Similarly, owing to my cultural frame of reference that defines my identity, sexism is only a thing which I experience outside my cultural context where women are highly esteemed. Hence, I govern myself based on my Ancestral cultural identity of self where I become oblivious to the sexism. This does not mean that sexism no longer exist. However, to explain my meaning in our African proverb, it is not the name that you are called, but also what you respond to that matters. In other words, my Ancestral cultural frame of reference which gives me my identity also provides for me the solution to address such situations when experienced. It is to my Ancestral cultural frame of reference that I respond to which in most cases expresses themselves through proverbs. Thereby and again, showing the power of our African Traditional oral culture as it informs our Identity!

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Activity Plan ACTIVITY PLAN WITH PRE- AND POST-ACTIVITIES SUBJECT(S): AFRICAN IDENTITY ACTIVITY (AIA) LEARNING EXPECTATIONS:

I have called this task the African Identity Activity (AIA). AIA recognizes that a person, and in this case, our children have no other identity other than their history and culture and cannot evolve harmoniously if they do not build their own destiny based on their own civilizational values (Wasseker, 2019). Therefore, the AIA draws on our African Indigenous culture and civilization to establish our sense of identity, purpose, origins, and direction, in order to help us and our children know who we are. The rhythm that introduces the AIA is to enable children acquire those important concepts that will direct them to ask questions that matter. The teacher may not necessarily have answers to share but will encourage them to hold on to the questions as presented in the rhythm. For instance, “From whence I came, to Whom I came, and Why I’m here, and where do I go?” Are deep concepts that when known early in life as presented within our Indigenous context sets a stage for a child to evolve harmoniously with Nature while achieving their mission on Earth. However, within the context of the western classroom, the learning expectation is that a teacher could address those questions, if raised, in ways that honours the child and encourages the child to hold on to them. The goal of the introductory rhythm is to establish the core of identity guiding questions as seen within our Indigenous context.

RESOURCES/MATERIALS:

GROUPINGS:

 Students working as whole class

 Students working in Pairs  Students working in small groups

 Students working individually

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TIME:

ACTIVITY DESCRIPTION AND DETAILS: AIA is simple and detailed enough to be replicated by those deciding to use it. This Identity Activity has been divided into three parts. While, it is focused to school children of African Descent, it can however be adopted by everyone. The first part introduces the AIA to children through an easy-to-follow rhythm composed with beautiful lyrics. The second part reviews Identity Questions with children. While the third part is a role play activity that can be practiced over a period of time and performed by students at a school event.

.

Part One: The below rhythm introduces the African Identity Activity (AIA) in the most fun way: I’m here, I’m here, On Earth, I came. I’m here on Earth I came, I’m here on Earth to Stay. From whence I came, To Whom I came, And Why I’m here, And where do I go. I’m here on Earth to stay, To stay on our Earth, I keep it clean So, I can stay on our Earth! Part Two: In another activity, a teacher might ask the children such questions as the following below: 1. What do you say to the question: who are you? (Children will have varied and beautiful responses). 2. What will you say to the question: Why are you here on Earth? (Children might have a funny response for

TEACHING/LEARNING STRATEGIES:                    

Debate Oral Presentation Reader’s Theatre Role Playing Discussion Interview Literature Circles Think/Pair/Share Advance Organizer Book Talks Conferencing Guided Reading Guided Writing Independent Reading Portfolio Reading Response Reflection Response Journal Brainstorming Other: _______________

ASSESSMENT STRATEGIES:               

Classroom Presentation Conference Essay Exhibition/Demonstration Interview Learning Log Observation Performance Task Portfolio Question and Answer (Oral) Quiz, Test, Examination Response Journal Select Response Self-Assessment Other: _______________

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this one. It is important to share these moments in laughter). 3. What will you say to the question: where are you going? (They might say, I am going to my home, along with other varied responses). Part Three: The AIA role play task in this part focuses on the learning activity that aligns with the children’s identity based on their family tree. Below is the description of how the task goes: AIA Role Play Task - Identity Basics: The teacher introduces the concept of identity to the children through role play of how a typical child grows up with the basics of their Identity intact in African Indigenous societies. Example of Concept for Role Play In our African Indigenous context, when we introduce ourselves, in order to request the elders’ permission to speak, we usually do so by extending back to our 7th generation. For example, in a scripted or unscripted role play, I, as an educator, will come before the children, and I will introduce myself as though I was in my village. I shall begin by saying: “To the Divine world, and to the world of our Ancestors do I show my acknowledgement, honour, validation and respect. To you all my elders, tribe, clan, family, and my many teachers, do I greet you and thank you. I introduce myself to you as the child of my father who is the son of the soil of the Land of the Weppa-Wanno people, from the village of Igiode. I am Osholene, the daughter of Oshobugie, who is the son of Dirisu, who is the son of Upiomoh, who is the son of Okpo, who is the son of Igbekhai. As the child of my mother, I am Osholene, the daughter of Iyesomi, who is the daughter of Titi, who is the daughter of Agbauwe, who is the daughter of Adebiyoge, that is the daughter of Yaga. I honour the Divine and Ancestral given gifts of both my father’s bloodline and my mother’s Destiny line. To you my elders, I ask for your permission to speak.

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This activity is much appreciated by children in most cases that some may want to take turns to participate in it. Please, do let them while at the same time, you explain the significance of identity through one’s family tree.

ACCOMMODATIONS:

Due to the unfortunate dissemination/destruction of most families of African descent, or situations where a child may not be able to identify their parents, such child can be encouraged or thought to celebrate with others that can do so. They can also be encouraged to focus on the possibility that they could build this for themselves through their generation and be motivated by it. They may love to participate in the process in the roles of elders or community members.

ASSESSMENT RECORDING DEVICES:     

Anecdotal Record Checklist Rating Scale Rubric Other: _______________

MODIFICATIONS:

Every child will do their best to engage with their parents in research to create their family tree both on their mother’s side and on their father’s side. Who is not able to do both or neither, or is not able to participate at all, can be excused.

HOMEWORK:

Children can have a whole school session practicing this task and reciting their lineages as learnt through their research via kind questioning of family members and utilize it in the role play activity until they achieve a sense of mastery of it. They can show off this achievement of their sense of self identity based on their family tree in a performance as part of a school end term activity. They usually enjoy the prestige of introducing themselves through their family pedigree, and those who are not able to, are inspired. Even adults are inspired by this act.

TEACHER REFLECTIONS:

It is important to know that this knowledge of self, is deeply rooted in the fact that as a child begin to know the names of their family relatives and Ancestors, they also come to know about who they are/were and what they did in their lives. This way, they begin to identity family commonalities and traits which inspires and informs a child’s understanding of self.

References Achebe, C. (1994). Things Fall Apart (50th ed.). Anchor Books. Achebe, C. (2012). Conversation with Chinua Achebe [Private Video File]. YouTube. https://www.youtube.com/watch?v=CkkCgNHZELA

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Carruthers, J. (1995). Mdw Ntr Divine Speech: A Historiographical Reflection of African Deep Thought from The Time of The Pharaohs to The Present. Karnak House. Chinyowa, K. (2001). The Sarungano and Shona Storytelling: an African Theatrical Paradigm. Studies in Theatre and Performance, 21(1), 18–30. https://doi.org/10.1386/stap.21.1.18 Dicks, I. (2006). Wisdom of the Yawo people. Kachere Series. Hasati, M. (2021). Raising Children In Meritah. The Rising Firefly. Journal of Kemetic Culture, Philosophy & Spirituality, 80. Hilliard-III, A. (2000). Introduction. In A. T. Browder (Ed.), From The Browder File: 22 Essays on the African American Experience. The Institute of Karmic Guidance. Jhutyms, M.  H. (2016). The Spiritual Warriors Are Healers (2nd ed.). Charles Child Publishing. Meniooh, B. (2010). Preserving Traditional Culture. The Sunnyside Magazine, 8(4). https://sunnysidemagazine.org/2010/02/preserving-traditional-­ culture/#more-­774 Morodenibig, N. (2005). Initiatic Tales of Hej-ptah: Kemetic Initiation Stories. The Earth Centre: Firefly Productions. Morodenibig, N. (2011). Philosophy Podium. The Earth Centre: Firefly Productions. Morodenibig, N.  N. L. (2009). Power of the Ancestral Spirit [Video]. https:// youtu.be/miIJaCe7sE0 Morodenibig, N. N. L. (2012). On The Ancestral Path: Day of Tehuti – Education to Achieve Perfection. The Sunnyside Magazine Online Community News and Culture, 11(1) https://sunnysidemagazine.org/2012/09/day-­of-­tehutieducation-­to-­achieve-­perfection/#more-­2584 Morodenibig, N.  N. L., & Shenmira, N.  I. (2018). Book of Purifications. The Earth Centre: Firefly Productions. Mucina, D. (2011a). Story as Research Methodology. Alternative: An International Journal of Indigenous Peoples, 7(1), 1–14. https://doi. org/10.1177/117718011100700101 Mucina, D. (2011b). The First and Only Letter to Amai. The Journal of Pan African Studies, 4(5), 162–182. Mutwa, C. (1964). Indaba, My Children. Grove Press. Okpewho, I. (2004). Call Me by My Rightful Name. Africa World Press. Oshobugie, O. (2019). An Autoethnography: A Research into My Educational Journey of Self Discovery and Coming to Know Through the Lens of African Indigenous Knowledge (M.A). University of Toronto. Paige, G. (2019, January 4). Black Americans Find Out Which African Tribe They’re From [Video Broadcast]. https://youtu.be/LBbDemsZhz8

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Paulson, S. (2021). Never Write in the Language of The Colonizer. Wisconsin Public Radio. Retrieved June 29, 2021, from https://www.wpr.org/ never-­write-­language-­colonizer Sakuhai, S. (2020). In His Father’s Footsteps: The Plight of the Fatherless. The Rising Firefly: Journal of Kemetic Culture, Philosophy & Spirituality, 78. Shenmira, N. I. (2007). The Ancestral Spirit. The Rising Firefly: Journal of Kemetic Culture, Philosophy & Spirituality, 78. Shenmira, N. I. (2013). The Kemetic Way of Life Spoken by a Dogon Priest [Video]. https://youtu.be/hsObqwTUU8U Shenmira, N.  I. (2016a). Ancestral Bloodlines told by Naba Iritah Shenmira [Video]. https://youtu.be/dsUVLbFsiVs Shenmira, N. I. (2016b). Kem Graduation: Reconquest of the Self. The Sunnyside Magazine Online, 15(6) https://sunnysidemagazine.org/2016/04/ reconquest-­of-­the-­self/#more-­3453 Tuwe, K. (2016). The African Oral Tradition Paradigm of Storytelling as a Methodological Framework: Employment Experiences for African Communities in New Zealand. In M. Kelly (Ed.), Proceedings of the 38Th AFSAAP Conference: 21St Century Tensions and Transformation in Africa (pp.  10–28). Deakin University. Wane, N. (2008). Mapping the Field of Indigenous Knowledges in Anti-colonial Discourse: A Transformative Journey in Education. Race Ethnicity and Education, 11(2), 183–197. https://doi.org/10.1080/13613320600807667 Washhek, S. (2016). Pursuing Personal Quality  – A Welcome to the Sahqara Generation. The Sunnyside Magazine Online: Community News and Culture. https://sunnysidemagazine.org/2016/08/pursuing-­personal-­quality-­a-­welcometo-­the-­sahqara-­generation/ Wasseker, M. (2019). The Talking Drum: Cost of the African Fest. , (19) 1, 2-10. Woodson, C. G. (1990). The Mis-education of the Negro. African World Press, Inc.

PART II

Culture: Customs and Traditions with Symbolic Meanings Associated with a Particular Nation, People, or Social Group

CHAPTER 6

‘Soulful Listening’: Rumi’s Story of the Parrot and the Merchant Soudeh Oladi

Objectives • To demonstrate critical understanding of and ability to engage with ‘soulful listening’ in educational spaces • To demonstrate critical understanding of the interaction between storytelling, ‘soulful listening’, and third spaces that encourage ‘deliberate silence’ • To identify third spaces that engender alternative modes of knowledge making Hidden from all I will speak to you without words No one but you will hear my story Even if I tell it in the middle of the crowd —Rumi (Divan Shams, Quatrain 221)

‫اب تو خسنان بزیابن خوامه گفت‬ ٔ ‫از‬ ‫مجهل گوشها هنان خوامه گفت‬ ‫جز گوش تو ن�شنود حدیث من کس‬ ‫هرچند میان مردمان خوامه گفت‬ ‫—دیوان مشس رابعیات‬۲۲۱ ‫رابعی شامر ٔه‬

S. Oladi (*) University of Toronto, Toronto, ON, Canada © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_6

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Every story has elements of mystery that need to be decoded, as so much is laid bare and secret worlds are revealed. As I locate myself at a moment in a great tradition, I stand grounded in my positionality as an Iranian rooted in people in love with poetry and stories. Iran, home to one of the world’s oldest civilizations, is also known for its inspired and vibrant oral literary tradition, representative of Iranian thought and values. Myths, national legends, fantastical tales of travels, epic poetry like the Shahname, and religious epics have been transmitted over generations for cultural preservation, including the revival of the Persian language as well as canvassing the human relation to the self and to the universe. Iran has always been a land of stories, magic, and poems and drawing on such rich heritage has allowed for diverse cultural narratives and literary expressions to be passed down through a treasure chest that is storytelling. The stories that shaped me have been a voice of moral and spiritual empathy, an antidote to the lifeless silences that have given birth to and preserved injustices. I distinguish between lifeless silences and soulful silences, as the latter has the power to transform. Silence, as a practice of listening, has been a form of initiation into various communities throughout history, including Pythagorean communities, where it had been essential “to listen, only to listen and entirely without intervening” (Beard, 2009, p. 341). As I listen to stories dancing around in my mind, and as I excavate my own narrative from them, I “observe myself observing” secret worlds in silence (Scott-Hoy & Ellis, 2008, p. 129). These secret worlds live in fluid spaces that embrace the ruptures between diverse iterations of transformation, empathy, and wisdom. Beneath a thin, golden veneer that divorces the intellect from our invisible being, the wide-eyed wanderer in me seeks solace and permission to reveal the secrets that have been whispered by great storytellers from the past. The stories, saturated with a plurality-conscious view of the self, narrate the creative exercise of imaginal fantasy, redemption, and transformation. I adopt imaginal from the work of Henry Corbin, who derived the term from the Persian na-koja-abad (the land of No-where) and the Latin mundus imaginalis (the intermediary level of reality) (Corbin & Horine, 1976). The intermediate world of the imaginal is “as ontologically real as the world of the senses and the world of the intellect, a world that requires a faculty of perception belonging to it, a faculty that is a cognitive function, a noetic value, as fully real as the faculties of sensory perception or intellectual intuition […] this faculty is the imaginative power […]” (Corbin, 1995, p. 9). The imaginal memory, where secret worlds reside, is

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also a sensory space filled with visionary experiences where stories “become the discovery” (Coles, 1989, p. 22). Stories, as I have learned, have the function of documenting that which cannot be said but also that which cannot always be heard. It is within this context, that I engage with soulful listening, an interpretation of the Persian gooshe jan sepordan (surrender the soul’s ear), as the dialogic structure of inter-subjective relations where the sensory world and the intelligible world come together in the space of the imaginal. Tiptoeing in the imaginal space has allowed the educator in me to move beyond binaries and into third spaces while simultaneously engaging with contrapuntal pedagogy or the inclusion of marginalized voices and experiences. The pages that follow reflect the power of stories in capturing all that is said but not always heard; how the imaginal space is where secret messages are revealed. In his collection of divine and spiritual poems, Divan Shams, Rumi reminds us of the imaginal realm as a space where being a messenger cannot be confined to words: I will speak to you without words No one but you will hear my story (Divan Shams, Quatrain 221)

Storytelling, is a universal way for people to bear witness to knowledge that nurtures negotiation, resistance, and change (Senehi, 2009); where the past is not quarantined from the present (Said, 1994). In this moment, I move beyond Maxine Greene’s (1977) conceptualization of stories as the sharing of repressed truths, into a space where secret worlds are revealed in the imaginal realm. It is in the midst of these enchanted secret worlds that the narrative of soulful listening finds its way through a critical exploration of transformative storytelling inspired by a tale from the Persian poet, Rumi: the Parrot and the Merchant. Rumi’s stories, as incredible as they are inspiring, can be invited into learning spaces that encourage critical and independent thinking, imagination, wisdom, and leaners as storytellers and story makers. The thirteenth century Muslim scholar and promulgator of mystic poetry and stories, Mawlānā Jalāl ad-Dı ̄n Muhammad Rūmı ̄ Balkhı ̄, known in the West as Rumi, is immortalized for his vast collection of mystical tales rendered in couplet form. For Rumi (1995), there exists elements of truth and secret worlds in every story, inspiring us to enter the imaginal realm and transcend the difficult barrier between intellect and intuition; an

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essential step to the transition from knowledge to action. For Rumi the storyteller, a tale is carefully crafted to reflect life’s complexities and transformative possibilities. Rumi’s stories contain spiritual elements that explore life’s mysteries in ways that ‘make the familiar strange’ (Bruner, 2004, p. 694). But it was Rumi’s estrangement from his own being that anointed him with the gift to tell stories that connected him to eternity.

The Story of Rumi To know Rumi, the man whose poetry and stories continue to be whispered into mystical silences for over 750 years, it is imperative to know about his worldviews, shaped by Sufism, and his life, changed by Shams. Rumi’s Sufi-based philosophical and poetic legacy is grounded in Sufism, the spiritual core of Islam. In Sufism, the self is a multidimensional and flowing entity and Sufis focus on spiritual development and self-realization for the awakening of one’s consciousness. The path of spiritual enlightenment as experienced by Sufis underlines the purification of the heart and traces the movements of the soul to identify elements that are self-serving and caustic (Ahmed, 2008). The Greek roots of the word Sufi, Sophia as wisdom, is different from its Arabic roots. While some believe that Sufi has a home in the Arabic word Safa meaning sincerity and purity, a reference to the Sufi tradition of purifying the heart (Valiuddin, 1977), others associate it with the Arabic term suf meaning wool. In different moments in early Islamic history, Sufis wore coarse woolen clothes, as a symbolic gesture that reflected their desire to not only resist but also show disdain toward the wealth and power that had corrupted Muslim rulers (Waugh, 2005). Sufis resist carnal desires and avoid overindulgence in worldly pleasures that feed the egocentric dimensions of our being. As a master Sufi, Rumi acknowledged the various roots of Sufism, but it is the esoteric understanding of Sufism found in safa that resonated most with him. A foundational principle in Sufi teachings is to reach higher levels of self-awareness by engaging with secret worlds in the imaginal realm and to unearth the inner dimensions of a person’s being. As Sufis search for timeless knowledge in secret worlds—journey, alchemy, and love become essential (Underhill, 2002). The individual who walks this path embarks on an inner journey that is anointed by wandering (sulúk). It is in this journey that the soul experiences a transformation; one that Schimmel (1993) calls Alchemy. Through the experience of Alchemy, hidden

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mysteries of the soul are revealed through bursts of inspirations or attacks of meaning. For Rumi, his beloved mentor Shams became the source for such bursts of inspiration that led to his metamorphosis. It was Rumi’s chance encounter with Shams Tabrizi or the ‘Sun of Tabriz’ that transformed him as they embarked on a journey of self-discovery and mystical love. Rumi was a prominent religious scholar of his time, but if he never met Shams, it is very unlikely that his name would have remained in the pages of history (Zarrinkoub, 1998). It was on the last days of November 1244, when Shams first encountered Rumi in the streets of Konya, in modern Turkey. The encounter profoundly uprooted Rumi’s life as Shams had found a soulful listener in the 38-year-old Rumi. Rumi had found himself; lost in Shams. The unorthodox relationship between Rumi and Shams led to growing mistrust on the part of Rumi’s students and family members. Without a warning and in likely response to the increased animosity he faced, Shams left Konya less than two years after meeting Rumi. Rumi’s followers had hoped that Shams’ sudden departure would bring back their beloved teacher; but the version of him that they loved and admired before meeting Shams. Little did they know that Rumi would never be the same. Shams’ departure devastated Rumi and he sent his eldest son to find the beloved mentor and spiritual companion. Rumi’s son found Shams in Syria and although Shams did return, the reunion would not last long. Rumi and Shams continued to explore their mystical companionship before Shams disappeared forever one night in 1247. Rumi had become increasingly mesmerized with Shams and a creative energy was borne through their companionship that left an eternal mark on the work Rumi produced for the remainder of his life. Shams’ final departure did leave Rumi inconsolable. But the anguish Rumi experienced at the loss of Shams eventually translated into an outpouring of tens of thousands of lyrics including lyric odes and quatrains. The experience led Rumi to declare that Shams’ essence speaks through him and it took Rumi the rest of his life to express the love, mysteries, and secret worlds he experienced alongside Shams. Rumi, who died at the age of 67  in the year 1273, left a legacy of spiritual wealth for the seekers of inner knowledge as manifested in his written masterpiece, the Mathnawi. Rumi’s poetry and stories in the Mathnawi thrive in a third space where there are multiple versions of reality. Existing in a third space, “does not ‘solve the problem.’ Rather it changes the arena within which that problem is addressed by increasing the probability of respectful, responsive, and reciprocal

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interactions” (Barrera et  al., 2003, p.  81). It is within such spaces that alternatives can take shape, different questions be asked, and “a critique of specific norms and processes can most effectively be mounted” (Harvey, 2000, p. 184).

The Mathnawi As Rumi’s “extremely passionate, intense, and fiery experience” (Tasbihi, 2007, p. 11) with Shams came to an end, the journey that led him to new depths of inner knowledge and wisdom began. Rumi, the storyteller, revealed his passion for stories when he was asked by a disciple to speak about his beloved Shams. Rumi found himself incapable of speaking about the person who had transformed his whole being. The words that he uttered in response were that the “Sun is so radiant that its secrets can be only told in metaphors, stories, [and] parables” (Schimmel, 1993, p. 47). For Rumi, once you have seen the Sun in all its radiance, albeit for a moment, you have been “transformed by its rays, [you] must invent colourful images, like stained glass pieces, to show the world how marvelous the Sun is” (Schimmel, 1993, p. 47). Rumi’s stories have been carefully crafted to reflect the Sun’s radiance by entering into a “creative zone of indiscernibility” (Ramey, 2012, p. 108), exploring secret worlds on a higher ontological plane that can only be found beyond the intellect. To channel Rumi’s despair into a productive life force, his long-time companions “inspired Rumi to commit to paper his thoughts, ideas, teachings, in short, his whole wisdom” (Schimmel, 1993, p.  33). Yet, Rumi only began to recite the great Persian magnum opus, the Mathnawi, when he found his soulful listener. The six volumes of the Mathnawi, which has been translated to Rhyming Couplets of Profound Spiritual Meaning, is home to over 25,000 couplets in didactic style. The Mathnawi has been called the greatest spiritual masterpiece ever written (Khān, 2002) and the Qur’an in the Persian language. Rumi also produced other written masterpieces, including a 40,000-verse collection of ecstatic utterances named after his beloved Shams. Rumi’s poetry and stories are imbued with secrets and only those who are spiritually thirsty and long for deeper layers of meaning can decode their mysteries. One such story, which can found in Book I of the Mathnawi, is the tale of the Parrot and the Merchant.

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The Parrot and the Merchant The story, the Parrot and the Merchant, speaks to the importance of soulful listening and how it can lead to transformative experiences. The story is about a merchant who plans to travel to India. Before embarking on this journey, the merchant asks his servants and his beautiful but caged parrot if he could bring back a present for them and this is how the bird responds: The bird said, ‘When you see the parrots there Please tell them all about my sad affair: Tell them a parrot pines continually To see you, but she’s caged by fate’s decree; She sends her greetings and she asks for justice, She wants to learn the faith you parrots practise; She says, “Should I stay longing here for you In exile, and then give my life up too? Should I stay in this cage—can this be right, While in the woods and meadows you take flight? (Mathnawi I, 1562–1567)

When in India, the merchant comes across a group of parrots and as soon as he tells them his caged bird’s message, one of the parrots reacts in a way that leaves the merchant in utter disbelief: He entered India, travelled deep inside, Then saw some parrots in the countryside: He drew his steed back, shouted to the birds, To keep his promise he passed on her words–– One of the birds shook violently then dropped, She fell just like a corpse, her breathing stopped! He then repented that he’d brought the news: ‘I’ve killed this creature, what is left to lose! Was she one of my parrot’s relatives, The same soul which in separate bodies lives? Why did I tell them when she’s out of reach? I’ve burnt the poor thing’s heart with my crude speech!’ (Mathnawi I, 1597–1602)

When the merchant returns and explains to his parrot what had transpired in India, the bird begins to tremble and dies in the cage. The merchant, distraught and disheartened by the loss of the beloved parrot, opens the cage to throw the dead bird away. No sooner has he done this, than

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the parrot flies away and sits on the branch of a nearby tree. Bewildered, the merchant asks, “What is the secret behind this death and this resurrection?” Is it that Indian parrot’s ways you’ve learned, To trick and roast me till my heart is burnt?’ (Rumi, Mathnawi Book I, 1839)

The now free bird replies: Yes, through her actions, she showed me how to Give up my voice and loyalty to you: Since it’s my voice for which I’ve been confined–– She acted dead to bring this to my mind, To say, ‘Sweet-singing bird, pretend like me, Just make yourself look dead and you’ll be free.’ If you’re a seed, you’re feed for every chick, If you’re a bud, you’re just what children pick; So hide the seed and be a snare instead, Change buds to roof straw there above your head; Whoever auctions off his own best trait Will soon be sent the worst of luck by fate, Evil eyes, rages, jealousies begin To pour on him like water from a skin, And envious enemies tear him in two–– Friends steal his life from him, I swear it’s true! (Mathnawi I, 1840–1847)

The caged parrot whose inspired voice had kept her imprisoned needed a soulful listener to hear all the secrets that could not otherwise be revealed. The soulful listener, in this case the Indian parrot, heard the caged bird’s innermost consciousness and the spiritual dialogue that ensued, though worlds apart, led to liberation. Rumi’s stories and poetry exist in spaces where metamorphosis can be liberation, completeness, unity, fracture, and multiplicity all at the same time. Rumi’s tales and poetry “allows a great deal of play to the individual—distracted, contemplative, imaginative, mystical—and thus it does create space for pure difference” (Marks, 2010, p. 11). The narrative constructs in Rumi’s writing are known for their “dynamic and polyphonic” quality and stories are told in different voices, at times overlapping one another (Rumi, 2020). All the different voices present in Rumi’s stories reveal secret worlds to the soulful listener. It was in mystical dialogue with

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the soulful listener that Rumi’s poetry and stories came to life and listening became an exercise of escaping the enforced duality of ‘matter’ or ‘mind’.

Listening: Beyond Matter Or Mind Examining the history of listening, Schmidt (2000) points to the “dwindling of hearing as a spiritual sense” (p. 15), and the eclipse of the ear. In conceptualizing listening as beyond matter or mind, Beard (2009) impels us to move beyond the listening subject and merely interpreting messages and find the ethical subject by exploring the role of listening “in the ethical constitution of the subject” (p. 7). The ethical subject engages in listening as a dialogical encounter and a “mutable, interdisciplinary concept, carrying with it discursive tensions” (Fiala, 2015, p.  4). Gehrke (2009) looks at tensions in listening studies between “effective” listening and “ethical” listening. For Tompkins (2009), rhetorical listening, examined from an ethical lens, encourages us to activate our moral imagination and develop greater moral sensitivity as we become attuned to the presence and interests of the Other who is made absent or consciously overlooked in the act of listening. Educational spaces that encourage the disruption of the ‘single story’ can encourage soulful listening and compassionate engagement with students whose voices have been used to only tell stories that validate the Eurocentric perception of the Other. Listening beyond matter or mind needs to be spirit adventurers and experience a mystical momentum in the form of ecstasy. There is a state in listening that has been described as one of enchantment and equilibrium marked by a “distinct ‘presence’, ‘inspiration’, ‘flavour’, ‘ecstasy’, ‘ravishment’” (Aubert et  al., 2017, p.  42). In The Art of Listening, Les Back (2007) conceptualizes listening as moving between visual, aural, and corporeal registers of apprehension by emphasizing not on simply hearing more carefully, but listening for what remains unsaid. Back (2007) evokes a ‘democracy of the senses’ as a mode of sociological thought and a “form of openness to others that needs to be crafted, a listening for the background and the half muted” (p. 8). Such openness to others requires both humility and an ethics of care, a point that Fiala (2015) conceptualizes as listening as a symbolic practice of empathic responsiveness in relation to other beings. Listening in the space of silence has also been a point of interest for scholars as well. Beard (2009) argues for a period of reflection within the space of silence in the practice of listening. The lingering space created by

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silence has the potential to stretch the bounds of our subjectivity as “We should not immediately convert what we have heard into speech. We should keep hold of it” (p. 342). For language to exist with silence, we need to experience “a listening otherwise that suspends the willfulness of self and fore-knowledge in order to receive the singularities of the alterity of the other (Lipari, 2009, p. 44). While the act of ‘listening otherwise’ can be understood as a liberating experience, the essence of our conscious presence in the practice of listening leaves no room to listening impartially. In Listening, Thinking, Being: Toward an Ethics of Attunement, Lipari (2014) critiques the lack of ‘deep listening’ around us and makes a case for how listening empathically and openly has the power to change our being and that “listening brings humans into being” (Lipari, 2014, p. 2). The different experiences of listening, including empathetic listening, rhetorical listening, listening otherwise, and deep listening fall into Lipetz et al.’s (2020) division of the construct of listening into the three dimensions of cognitive, behavioral, and affective. In examining the story of the Parrot and the Merchant, the soulful listener’s ventriloquy introduces us to a space where questions that take center stage include, what a listener is listening for, who is allowed to listen to the stories and their secrets, how dialogic transformation takes place through soulful listening. For Rumi, words, are not enough to convey reality and messages from the world of secrets, as we are in need of an experience that can hear all that is not said or cannot be said—the unspoken. The layers added by a soulful listener, who has insider status, requires listening with veneration and devotion. In the story, the Parrot and the Merchant, to become a soulful listener, one must be willing to walk through three different stages: 1) Empty oneself; 2) Be silent and listen; and 3) Bear witness to attack of meaning.

To Empty Oneself Soulful listening necessitates emptying oneself of different desires including selfish ones. Rumi draws parallels between human beings and the reed flute in that we are our truest selves and capable of creating beautiful music and hearing messages from the secret worlds when we are ‘empty’ (Bashiri, 2008). Rumi encourages us to empty ourselves as opposed to filling our beings with knowledge that has limited transformative potential (Soroush, 2015).

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Your own self is the only pupil who is really faithful to you: all the others perish: where will you seek them, where? In order that you may make others erudite and eminent, you make yourself evil-natured and empty of true knowledge. But when your heart is united with that Eden of Reality, listen, keep speaking, and do not be afraid of becoming empty. (Mathnawi V, 3195–3199)

Like the caged parrot that lavished in the admirations she received for her beautiful singing voice, our desire to be seen by others may deprive us of the experience of humility (Zarrinkoub, 1998). In the case of the caged parrot, the desire to be heard was the very thing that had kept her caged. To engage in soulful listening, it is important to be comfortable with being silent and control the desire to be at the center of attention. The form of deliberate and ‘conscious silence’ a soulful listener engages in can be a liberating experience as every word exchanged in this space has immense potential for transformation. Educational spaces that are home to social justice ideals can encourage the practice of deliberate silence, particularly by those who have been historically privileged but seek to disrupt that through allyship with marginalized communities. Once a person has submitted to emptying themselves from unnecessary knowledge or desires, Rumi moves us toward the concept of ‘opening’. There is a particular emphasis on ‘opening’ in Rumi’s poetry including opening hearts, opening minds, opening paths (Soroush, 2019a), and opening ourselves to hear that which otherwise cannot be heard. After Shams’ departure and the subsequent devastation Rumi experienced, his longtime disciple and companion, Husam Chalabi, became his soulful listener. For Rumi, Husam was the ‘opening’ he needed to become eternally creative and for his stories from secret worlds to emerge. After the completion of Book I of the Mathnawi, Husam’s wife died and his grief left him in a state of despair. For the next two years, Rumi did not produce any poetry until Husam, the soulful listener, was back in his inner circle. It was Husam’s soulful listening that opened the chains from Rumi’s mouth. Rumi, needed Husam, to be spiritually provoked before he revealed messages from the secret worlds.

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Be Silent and Listen Now listen to this reed-flute’s deep lament About the heartache being apart has meant: ‘Since from the reed-bed they uprooted me My song’s expressed each human’s agony, A breast which separation’s split in two Is what I seek, to share this pain with you (Mathnawi I, 1–3)

‫ب�شنو از ین چون حاکیت می کند‬ ‫از جدایی ها شاکیت می کند‬ ‫کز ِن ِی�ستان ات مرا بُربیده اند‬ ‫از ن َفریم مرد و زن انلیده اند‬ ‫سینه خوامه َشحه َشحه از فراق‬ ‫ات بگومی رشح درد اشتیاق‬

Rumi’s homage to silence (khaˉmoushi) can be traced to numerous ghazals throughout the Mathnawi. Rumi starts Mathnawi with the word ‘listen’ as he tells the story of a reed flute that is in agony over being separated from its essence. But to hear the secrets of the reed flute, we are invited to empty ourselves from all selfish desires and listen in silence. In Book I of the Mathnawi, one of the interruptions in the story of the Parrot and the Merchant walks us through the need to be silent as we listen. Here, the soulful listener is engaged in a passionate silence rooted in love, not logic. For Rumi, the soulful listener takes on a role that much like in the story about Jesus’ healing breath (‫)دم عیسوى‬, can bring us back to life. If Jesus could bring the dead back to life, the soulful listener can invigorate and breathe life into the listening practice, which can in turn enliven hearts and set fire to souls. Rumi tells the story of a man who wanted Jesus to teach him the secrets of bringing the dead back to life. Jesus did not know how to tell the man that it is not the words that bring the person to life but the heart and soul behind the words being uttered. Not all secrets can be revealed by merely uttering them or saying them out loud. There are spiritual secrets that can only be heard by those who are ready to hear them. An important stage in the process of becoming ready to hear secrets from the world within is to engage in the exercise of passionate silence that will help us transcend from listeners to sense makers to custodians of the secret world. In the Parrot and the Merchant, Rumi chronicles scenes where we are invited to enter the world of meaning; the abode of secret words; but the key to this world is silence. To understand in silence we may need to throw away language and engage in passionate and deliberate silence. The Indian parrot, as the soulful listener, heard the secret message of the caged parrot and responded not with words but in silent action. Contrary to silencing,

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soulful listening invites us to listen for. Soulful listening, laced with humility, heightens the interaction and relationship aspect of the listening experience and creates a space for the listener to become the eye-wide-wanderer. The moments of silence in soulful listening can turn into spaces for reflection. The Indian parrot listened for the secret message hidden beneath the words that were uttered by the merchant and responded in a way that led to the caged bird’s freedom. In a departure from the story of the Parrot and the Merchant, Rumi points out that before words leave our mouth, we are still in control, but once the arrow of our words has been pulled, we become its prisoners. Regard the words you utter with your tongue A dangerous arrow which you have just flung; An arrow can’t be brought back from its course–– We have to block the torrent at its source; Floods can submerge the world each time they rise, If they destroy the world that’s no surprise, Actions bring forth effects beyond our goal, Unseen effects beyond our own control (Mathnawi I, 1668–1671)

‫نکته‌ای اکن جست انگه از زابن‬ ‫مهچو تریی دان که �آن جست از کامن‬ ‫وا نگردد از ره �آن تری ای پرس‬ ‫بند ابید کرد �سییل را ز رس‬ ‫چون گذشت از رس هجاین را گرفت‬ ‫گر هجان ویران کند نبود شگفت‬ ‫فعل را در غیب اثرها زادنیست‬ ‫و �آن موالیدش حبمک خلق نیست‬

Rumi underlines the impact of language and the power words carry in impacting others’ lives. To avoid any unnecessary suffering, the soulful listener is encouraged to engage through silence and evade using language in ways that yield more harm than good. The soulful listener needs to be someone who has proven themselves worthy of hearing the secrets of the heart. As such, whenever a na-mahram (unwelcomed guests/false listener) tried to enter Rumi’s secret world, he would stop talking. From a Rumi-inspired lens, a soulful listener is a companion who has the power to turn one’s undesirable thoughts, qualities, or circumstances into positive ones, as manifested in the example of the Indian parrot. O my heart, sit next to someone who is aware of heart Go under the tree which has fresh flowers Not every reed-flute has sugar, not every under has over Not every eye has penetrating sight, not every sea has gem (Rumi, Divan Shams, Ode 563)

‫دارددال نزد کیس بنشنی که او از دل خرب‬ ‫به زیر �آن درخیت رو که او گل‌های تر دارد‬ ‫در این ابزار عطاران مرو هر سو چو یب‌اکران‬ ‫به داکن کیس بنشنی که در داکن شکر دارد‬

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In the first verse above, Rumi states that you should converse and be in contact with those who have knowledge of the heart. People who have an awakened heart will stir a revolution in you and resurrect you (ghiamat). These people, the soulful listeners, like the Indian parrot, can breathe new life into you.

Bear Witness to Attack of Meaning In an “exploding and explosive stage, when [Rumi] could no longer help being a poet” (Iqbal, 2014, p. 129), it was the soulful listener who became a canvass for ‘attack of meaning’ (tahajom). Rumi’s poetry was borne from inspiration that came in the form of tahajom (attack of meaning). This manner of knowledge tends to come in the form of revelation and takes a person by surprise (ghafel-giraneh). Rumi believed all human beings are capable of receiving revelation and inspiration (vahy) (Soroush, 2019b). While there is generally the binary of feeling with your senses or understanding with your intellect, Sufis seek a third way: a direct connection between the self and various experiences around them. In these instances, a person’s linguistic abilities can lose their traditional function and the individual begins to speak without full cognitive awareness. For a person who finds themselves enchanted in this ecstatic state, the words that come out of their mouth may appear chaotic, because they are in fact following an inner order. This is a form of chaotic order that comes into existence when a person is pouring out numerous meanings and understandings simultaneously (Soroush, 2006a). In the Parrot and the Merchant, the reaction of the Indian parrot after hearing the woes of the caged bird can fall into this category. For Rumi, among the qualities of a soulful listener is to cause others to revolt (ghiam) against outer injustice and inner conflicts (Soroush, 2006b). To be a true Sufi, one must experience continuous rebirths—particularly a rebirth of the soul, where everything may be the same but with the potential for difference. Soroush (2006b) argues that Sufism has two important messages for us: one is about acknowledging our ignorance and the second revolves around being a messenger. To be a messenger, one must be ready to identify secrets that unveil hidden worlds. Soulful listeners are differentiated from false listeners who only listen to others’ stories of pain in order to sell them. Rumi, likens false listening to drinking salty water as it only makes one more thirsty without quenching your thirst. The Indian

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parrot fulfilled the Sufi’s goal of being a messenger; a carrier of truths, whose message is simultaneously transformative and liberating. Rumi also refers to the notion of zir-o-zebar (to become anew/to be transformed) over a hundred times in his poetry (Soroush, 2014). The story of the Parrot and the Merchant is replete with possibilities for experiencing zir-o-zebar. It is a tale where one can transition from a ‘world of words’ to a ‘word of signs’. In the space of zir-o-zebar, soulful listeners undergo a metamorphosis alongside the storytellers by freeing themselves of any form of belonging that binds them (Soroush, 2011). In this kind of metamorphosis, there is an infinite recycling of meaning that allows individuals to move toward completeness. Rumi’s poetry and stories avoid orthodoxy and indoctrination as they promote a pluralistic culture of endless movement and unrest—the kind of movement and meaningful unrest whose absence is visible in educational spaces.

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Activity Plan Subject(s): Language Arts / Media Literacy / History / Social Studies LEARNING EXPECTATIONS: o Critically understand and engage with soulful listening alongside a peer

RESOURCES/MATERIALS:  Paper or Laptop  Chairs to allow for one-on-

one engagement and to form a circle for the debrief

o Practice deliberate silence while listening to peer o Interpret peer’s stories through the lens of the soulful listener o Practice becoming a soulful listener by 1) emptying oneself; 2) being silent and listening; and 3) bearing witness to attack of meaning

TIME: Activity Description and Details: Arrange the room so students are sitting in pairs facing one another. Depending on the content of the lesson, each peer can ask their partner to express their understanding of the lesson. Guiding questions can include: 1) What did you hear when the teacher discussed the content or when you read it? 2) Whose voices were absent? 3) Whose voices were the privileged ones? .

The peer engaging in the practice of soulful listening can write down the highlights of the interaction. The peers can change roles and continue the practice of soulful listening. Additional reflective considerations can include: 1) How can we practice ‘emptying’ ourselves when we are listening to our peers? 2) How can we practice listening as a form of deliberate silence with our peer? 3) When should privilege translate to silence? 4) Discuss how we are ‘listened to’ and how can we

GROUPINGS:  Students working as whole class

 Students working in Pairs

TEACHING/LEARNING STRATEGIES:     

Oral Presentation Discussion Think/Pair/Share Guided Writing Other: _______________

ASSESSMENT STRATEGIES:        

Essay Exhibition/Demonstration Learning Log Observation Response Journal Select Response Self-Assessment Other: _______________

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‘listen for’ differently. 5) Discuss how listening can become an experience of zir-o-zebar (to become anew/to be transformed). After completing the activity, the class can sit in a large circle to debrief and share discoveries. Reflective points to consider during the debrief can include: 1) List two things that you learned today about soulful listening. 2) How would you explain the experience of soulful listening and deliberate silence to a friend? 3) How did the practice of soulful listening impact you? What emotions did you experience? What were you thinking about when you were silent?

ACCOMMODATIONS: o Students are encouraged to write down their reflections in any language they feel comfortable using. Google Translate can be used if students encounter difficulty expressing themselves. o Ensure a silent space is available for students; if possible use spaces outside of classroom to carry out the activity.

HOMEWORK:

ASSESSMENT RECORDING DEVICES:  Anecdotal Record  Rubric  Other: _______________

TEACHER REFLECTIONS:

Each student is required to write a short story or The teacher can sit with each student individually and letter to their peer to express their understanding practice soulful listening with them throughout the of the experience of soulful listening and what they year. heard as they listened with intentionality. Teachers can critically reflect on their own one-onStudents are encouraged to ask their elders about one experience with students as they engage in how they understand and/or experience soulful soulful listening. Maxine Greene’s point about the listening. importance of communicating a sense of our lived worlds can provide a frame of reference. The practice of soulful listening can be examined as a portal through which students and teachers can listen for silences and absences as they enter into and interpret one another’s worlds.

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References Ahmed, S. (2008). What Is Sufism? Forum Philosophicum, 13(2), 229–246. Aubert, L., Seeger, A., & Ribeiro, C. (2017). The Music of the Other: New Challenges for Ethnomusicology in a Global Age. Routledge. Back, L. (2007). The Art of Listening. . Barrera, I., Corso, R. M., & Macpherson, D. (2003). Skilled Dialogue: Strategies for Responding to Cultural Diversity in Early Childhood. Brookes Publishing. Bashiri, I. (2008). The Ishraqi Philosophy of Jalal al-Din Rumi. In The Academy of Sciences of Tajikistan The Institute of Philosophy. The University of Minnesota. Beard, D. (2009). A Broader Understanding of the Ethics of Listening: Philosophy, Cultural Studies, Media Studies and the Ethical Listening Subject. The International Journal of Listening, 23(1), 7–20. Bruner, J. (2004). Life as Narrative. Social Research, 71(3), 691–710. Chittick, W. (1983). The Sufi Path of Love: The Spiritual Teachings of Rumi. State University of New York Press. Coles, R. (1989). The Call of Stories: Teaching and the Moral Imagination. Houghton Mifflin. Corbin, H. (1995). Swedenborg and Esoteric Islam. Swedenborg Foundation. Corbin, H., & Horine, R. (1976). Mundus Imaginalis, Or, the Imaginary and the Imaginal. Golgonooza Press. Fiala, J. (2015). Ethics of Listening: Examining Methods and Praxes Toward a Community-Centred Art, Doctoral dissertation. Gehrke, P. J. (2009). Introduction to Listening, Ethics, and Dialogue: Between the Ear and the Eye: A Synaesthetic Introduction to Listening Ethics. The International Journal of Listening, 23(1), 1–6. Greene, M. (1977). Toward Wide-Awakeness: An Argument for the Arts and Humanities in Education. Teachers College Record, 79(1), 119–125. Harvey, D. (2000). Spaces of Hope. University of California Press. Iqbal, A. (2014). The Life and Work of Jalal-ud-din Rumi. The Other Press. Khān, V. (2002). Simple Wisdom: A Daybook of Spiritual Living. Goodword Books. Lipari, L. (2009). Listening Otherwise: The Voice of Ethics. The International Journal of Listening, 23(1), 44–59. Lipari, L. (2014). Listening, Thinking, Being: Toward an Ethics of Attunement. Penn State Press. Lipetz, L., Kluger, A.  N., & Bodie, G.  D. (2020). Listening Is Listening Is Listening: Employees’ Perception of Listening as a Holistic Phenomenon. International Journal of Listening, 34(2), 71–96. Marks, L. U. (2010). Enfoldment and Infinity: An Islamic Genealogy of New Media Art. MIT Press. Mojaddedi, J., & Rumi, J. (2008). The Masnavi: Vol. Book 1. Press.

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Ramey, J. (2012). The hermetic Deleuze: Philosophy and spiritual ordeal. Duke University Press. Rumi, J. (1995). The Essential Rumi (C. Barks with J. Moyne, Trans.). Rumi, J. (2001). Divan-e Shams-e Tabriz (R. A. Nicholson, Trans.). The University of California. Rumi, J. (2008). The Quatrains of Rumi (F. A. G. Rawan & I. W. Gamard, Trans.). Sophia Perennis. Rumi, J. (2018). The Book of Rumi: 105 Stories and Fables that Illumine, Delight, and Inform. Hampton Roads Publishing Company, Inc. Rumi, J. (2020). The Masnavi of Rumi, Book One: A New English Translation with Explanatory Notes. IB Tauris. Said, E. (1994). Culture and Imperialism. Vintage Books. Schimmel, A. (1993). Triumphal Sun, The: A Study of the Works of Jalaloddin Rumi (No. 8). Suny Press. Schmidt, L.  E. (2000). Hearing Things: Religion, Illusion, and the American Enlightenment. Harvard University Press. Scott-Hoy, K., & Ellis, C. (2008). Wording Pictures: Discovering Heartful Autoethnography. In J. G. Knowles & A. L. Cole (Eds.), Handbook of the Arts in Qualitative Research: Perspectives, Methodologies, Examples and Issues (pp. 127–141). SAGE Publications. Senehi, J. (2009). Building Peace: Storytelling to Transform Conflicts Constructively. Handbook of Conflict Analysis and Resolution, 201–214. Soroush, A. (2006a). Introduction to Understanding Mathnawi, Book I. Audio Recordings. Soroush, A. (2006b). Seire Tasavof Irani 4. Audio Recordings. Soroush, A. (2011). The Paths towards Happiness. Retrieved from http:// miladrabbani.persianblog.ir/post/79/ Soroush, A. (2014). A Night with Molana. Audio Recordings. Soroush. A. (2015). Soroush Lectures on Rumi. Audio Recordings. Soroush, A. (2019a). Introduction to Understanding Mathnawi, Book III. Audio Recordings. Soroush, A. (2019b). Introduction to Understanding Mathnawi, Book V. Audio Recordings. Tasbihi, E. (2007). Reading Sabzawari’s Commentary on Rumi’s “Mathnawi”: A Philosophical Approach. McGill University. Tompkins, P.  S. (2009). Rhetorical Listening and Moral Sensitivity. The International Journal of Listening, 23(1), 60–79. Underhill, E. (2002). Mysticism: A Study in the Nature and Development of Spiritual Consciousness. New York Dover Publications, Inc. Valiuddin, M. (1977). The Quranic Sufism. Motilal Banarsidass Publishing. Waugh, W. E. (2005). Sufism. Xulon Press. Zarrinkoub, A. (1998). Pele pele ta molaghate khoda. Entesharat Emli Publishing.

CHAPTER 7

The Persimmon Tree: A Japanese Rakugo Tale Cathy Miyata

Objectives • To appreciate traditional Japanese culture • To develop critical awareness of social issues • To explore humour in oral culture • To engage in creative retelling methods

About the Author Although I am now a professor of literacy, I have also been a professional storyteller for 35 years, performing and facilitating workshops for teachers, executives, storytellers, academics, and children in a wide variety of settings. My telling has brought me to Serbia, Mexico, the United States, Portugal, Sweden, Malaysia, across Canada, into many Indigenous

C. Miyata (*) Wilfrid Laurier University, Waterloo, ON, Canada e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_7

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Communities, and several times to Egypt, Germany, and Japan. I first heard the rakugo tale, The Persimmon Tree, from a prominent Japanese teller named Miki Sakurai. Miki did not use the traditional methods of the rakugo teller (e.g., sitting on a mat or only using a fan and a handkerchief as props). Miki relied on gesture, vocal expression, pause, facial expression, and created her own props. Should you or your students choose to tell The Persimmon Tree for an audience, I sincerely hope you will tell it in your own way as well. One of the reasons I became interested in rakugo storytelling is my husband is of Japanese heritage. I, on the other hand, am of Scottish decent. It was very important for me to learn and understand all I could about Japanese culture so my children would be raised with a love and respect for both of their cultural backgrounds. Over the years, I discovered sharing stories, especially funny stories, opened up a world of appreciation and understanding in a non-threatening and welcoming way to a host of audiences. I use the antics of rakugo telling to break down cultural barriers and build community.

Cultural Significance of Rakugo Storytelling A flick of the fan, a quick nod of the head, one squeak from the teller, and the audience is laughing uproariously. Such are some of the comic techniques of the Japanese rakugo storyteller. Rakugo is a very well defined and practiced comedic art form in Japan. Rakugo stories fall under the genre of folklore. It became a popular art form for the common people during the Edo period (1603–1867), when people could watch a teller perform in the street. Eventually, small theatres were built for rakugo telling and can be visited today on a daily basis all over Japan. It is also common for schools studying the traditional arts to invite rakugo storytellers into the schools to perform for the children. Traditionally, the art form is performed solo, with the teller kneeling on a small cushion. This stance gained the modern tellers a reputation as “sit-down stand-up” comedians (Wells, 2014, p. 626). The contemporary teller uses only two props: a fan and a small cloth. The fan is the key prop, “used with consummate skill as a pair of chopsticks, a sake cup, a rice bowl, a teacup, or as any other object that may appear in the story, including a fan” (Wells, 2014, p. 626). As the story unfolds, the alteration of pitch and tone depict the different characters; combined with gestures, bodily poise, and facial

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expression, the audience is held spell bound. Comic timing is also masterfully portrayed. As with most storytelling art forms, rakugo performances “hinge on effective communication with the audience” (Brau, 2008, p. 46). Imagine the self-confidence and composure developed in students who are encouraged to learn this bevy of powerful communication techniques: eye contact, poise, timing, gesturing, vocal expression, and facial expression (Miyata, 2001).

Why Oral Storytelling? As a narrative artist, parent, and educator, I maintain that guiding children (and adults) to reflect on the actions of people and societies is important. Storytelling provides opportunity for critical reflection and discussion in a safe environment. I use stories to make a statement, nudge reflection, and provoke conversation. One key aspect of rakugo stories is its commentary or critique on society (Brau, 2008; Oshima, 2006; Shores, 2009). Although humorous, The Persimmon Tree, effectively comments on human behaviour and provides opportunity for rich discussions on the ability of art to comment on the flaws of human nature. There are many messages in this story, but my favourite frames a more positive attitude of mind: if you are given lemons, then make lemonade! Below are a few questions designed to promote critical thought and discussion: • Why would the fruit pickers destroy the tree? Can you think of an example in modern times when this has happened? • Why did Ojisan share his new discovery? Would you? • Why do you think a rakugo teller would select this story to tell? What does it do for the audience? Posing critical questions such as these connects the story to present-day society and enables the audience to make critical observations, comparisons, and propose solutions to social situations. I use oral storytelling in my practice as a storyteller for children and as a professor in my undergraduate, graduate, and teacher pre-service courses. I see oral storytelling as a means of developing a relationship with my listeners (students) and as a springboard for exploring the arts, particularly creative drama. Stories shared orally create a bond or relationship between the teller and the listener which reading a story cannot provide.

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This relationship is sacred because it is personal. The emotional nature of the story is passed from one human being to another. This evokes empathy and promotes a sense understanding and belonging. It builds a sense of community and a familiarity which enables listeners to share thoughts and feelings about the story. I also use oral storytelling to evoke strong imagery in the listener. This experience is more prominent during an oral experience than if the listener was listening to a story from a book with pictures. When the listener creates their own imagery, their imagination is more actively engaged. This not only holds their attention more, it produces ideas, and images the listener often desires to share, describe, or produce. These images and emotions lend well to creative follow-up to the storytelling experience: painting, drawing, collage making, mural building, role playing, and situational improvisation.

Embedding Authentic Culture To further embellish the cultural aspect of the story I have woven many Japanese words and phrases into the text. This not only honours the heritage of the story, it adds a cultural dimension through sound and tone that only spoken language can provide. The glossary below provides phonetic transliteration so students telling the story can use the Japanese words accurately. Subtle illustrations of Japanese culture (e.g., clothing, furniture, foods) are also embedded in the text and provide points for interesting comparisons with other cultures. Glossary Mukashi (moo-kah- shee) ; once upon a time Ojisan (oh- gee- suh); old man; to make the word imply more age, hold the ‘ee’ sound longer. Ahh, so (ah- soh); a term of agreement or delight Yukata (yoo-kah-tah); light cotton robe with very large square sleeves Sumo (soo-moh); trained wrestler who is fed a special diet to increase size Tatami (tah-tah-mee); small square tan-coloured mats, laid over a floor Ome (oh-meh); sweet tasting O ii shi (Oh ee shee); delicious

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Matsu-taki (mat- soo-tah- key); type of mushroom found under pine trees Sui sui (soo-ee- soo-ee); sound of a fish swimming in water Eeii (ee-eh); ‘no’ or ‘that’s enough’ Nan gi desu-ka? (nan-gee-des-kah); ‘What is this?’

Introduction to the Story The story is delightfully funny and suitable for all ages. Younger students would enjoy listening to it performed and re-enacting scenes, but for older children, it offers many opportunities to explore hand gestures, mime, character voices, exaggerated facial expressions, and comic timing. I highly recommend students of a junior level (grades 4–6) or intermediate senior levels (grades 7–12), learning and performing the story for a younger audience. Parents and educators may wish to use the following Youtube video which depicts the history of rakugo storytelling and a performance by a famous rakugo teller: https://m.youtube.com/watch?v=vhkYNpwTKIQ. Many suggestions for exploring and performing the rakugo story, The Persimmon Tree, can be found in the activity lesson plan at the end of this chapter. Activities include: how to remember a story; becoming storytellers; building improvisation skills; the art of gesturing; comic timing; and finally, my personal favourite, creating storytheatre. In the explanation of how to create a storytheatre performance with an entire class, I also explain why I have divided the story into seven parts.

The Persimmon Tree Part One Mukashi, Mukashi…. Long, long ago, in a small village in Japan, there lived a poor man. All of the villagers called him, Ojisan, which means ‘old man’. Sometimes, the children in the village would giggle and call him Ojiiiiiiiiiiii-san, which means very, very, very old man. One day Ojisan was digging in his tiny garden and he uncovered two plump sweet potatoes. “Ahhh so!” said Ojisan. “This is my lucky day! I will take these to the market and sell them. I will buy myself a tasty treat.” He brushed the

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sweet potatoes off, slipped them into the sleeve of his yukata and set of in the direction of the market. Part Two The walk was long and as the sun climbed higher in the sky. Ojisan grew wearier with every step. Finally, he stopped and looked around for a place to rest. There was a bamboo tree, but bamboo trees have little shade. There was a pine tree, but pine trees drip sap. Then he saw the perfect place to sit. A big beautiful persimmon tree. The trunk was twisted and old, but the branches were shimmering with shiny green leaves and laden with bright orangey-red persimmon fruits. “A perfect tree,” announced Ojisan, “both old and prosperous.” Ojisan settled down under the branches and leaned up against the trunk. In the cool shade, he could hear the rustling of the leaves and the buzzzz, buzzzzzzing of the cicadas. The quieting sounds droned on and on, lulling Ojisan into a peaceful sleep. He did not sleep for long. Suddenly, the ripe persimmon directly above him, fell out of the tree. It landed right on the top of Ojisan’s head. Ojisan awoke with a jerk. He looked around to see what had hit him, but he saw nothing about. Puzzled, he reached up to rub his poor aching head. To his amazement, he felt a persimmon. He pulled. It would not budge. Ojisan had a persimmon stuck on the top of his head! Quickly, Ojisan gathered himself up and ran off as fast as his old bones would carry him. Part Three When he arrived at the market, he called to his friends for help. One by one, they tried to pull the persimmon out of the top of his head. Others were asked to help too and soon a crowd gathered to watch. Strangers offered their assistance, but no one could yank it out. Finally, they called for the strongest man of the village… …. Sakurai the Sumo Wrestler. Sukurai pulled and strained, but not even he could remove it. Some of the people watching began to snicker and chuckle. Ojisan was embarrassed. He hurried out of the market and ran all the way home.

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When he got inside the door of his little house he carefully removed his sandals, slipped into his slippers and squatted down on his tatami mat to think. Suddenly he knew just what to do! He would wait. Fruit rots. He would wait until the fruit rotted and fell out of his head. Ojisan waited. Three days he waited. The fruit did not rot It grew roots. White roots tangled through his hair, across his shoulders and down his back. He tried to hide the roots under a hat, but people noticed. They pointed and stared. Then to make matters worse, because the persimmon was rooting, a little sprout began to grow. With each passing day, the sprout grew taller and thicker until Ojisan had a small persimmon tree growing out of the top of his head. Ojisan could not believe his misfortune. When people saw him, they fell over with laughter. The tree grew and grew. Long sturdy branches spread out in every direction bearing shiny green leaves and tiny pink buds. It became more and more difficult for Ojisan to walk. He could no longer scurry past the villagers who mocked and teased him. He had to walk very slowly, holding up his head or the tree would topple over. Even worse, when his friends bowed to him and he tried to bow back (which is the polite thing to do), he could not get back up. People had to hoist up his tree. So, Ojisan stopped bowing and his friends stopped speaking to him. Ojisan’s tree prospered and the tiny buds swelled into bright red persimmon fruits. Soon there were dozens and dozens of tiny fruits that also grew and grew. Finally, the tree became so heavy with fat orangey-red persimmons, that Ojisan could no longer move about. One night, to Ojisan’s relief, the fruits ripened and began to drop out of his tree. As the fruit fell, it piled higher and higher until he had hundreds of plump persimmons lying all around him on his tatami mat. Part Four Ojisan stared at the persimmons. He picked one up and bit into it. The sweet juice dribbled down his chin. He ate another and another. Each one was more tasty than the last. He ate until he was too full to eat one more fruit. “What will I do with all of these wonderful persimmons?” Ojisan asked himself. A smile spread across his wrinkled face. “I will sell the fruit!” he announced excitedly and he began to gather them up. Ojisan put the

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persimmons into two baskets. He tied the baskets to a pole and at the first light of day, he went to the market. “Fresh persimmons for sale!” he called, “Very fresh. Fresh from my head!” Many villagers at the market laughed. Some people were disgusted, but some felt sorry for him, after all, he had a persimmon tree growing out the top of his head. They sent their children over to buy a fruit from the unfortunate man. One small girl tasted the fruit. It was ome! Delicious! She begged her mother to buy her another. Soon many people were buying the persimmons and they were all delighted by the luscious taste. By the end of market day Ojisan had sold every one of his persimmons and now he had a great deal of money. Ojisan no longer frowned about his unusual tree. He felt much lighter than he had for many, many days. As he walked towards home, he whistled, held his head high, and waved at everyone he saw. Occasionally, he would shake the sleeves of his robe and listen to the coins jingle inside. Ojisan was indeed a happy man. A crowd gathered in the market place. It was the fruit growers. “Did you see his fruit?” one grumbled. “I have not seen persimmons like that in years.” “It’s not fair,” groaned another. “He does not have to pay pickers like we do. He just loafs around in the comfort of his own house and waits for the fruit to drop.” “He is not even from a fruit grower’s family!” shouted one more. They decided to put a stop to Ojisan’s remarkable fruit-bearing tree. The mob ran after him. Before Ojisan could get safely into his house, they pushed him to the ground. They cut down Ojisan’s tree. Now, Ojisan had a stump sticking out the top of his head. A tree was dignified … but a stump? Part Five Ojisan dragged his feet into the house. He pulled down the shades and slumped onto the tatami mat to think. “Whatever will I do?” he mumbled. Ojisan sat up with a start. He knew what to do. Stumps rot. He would wait. It would rot and fall out of his head. Ojisan fell asleep dreaming about his stump. In the morning, when Ojisan awoke, he could not lift his head off of his pillow “What has happened?” he demanded. “How can a stump get

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heavier?” Ojisan reached up. Growing out of his head were…mushrooms. Great big matsu-taki mushrooms. Now this was very strange, because matsu-taki mushrooms grew high in the hills, under the pine trees. They were very hard to find. That was why they were so expensive. A smile spread across Ojisan’s lined face. “I will sell my mushrooms!” he cried. Ojisan plucked the mushrooms off his stump. He had enough to fill two baskets. He put the baskets on a pole and he went to the market. He called to everyone he saw. “Fresh matsu-taki mushrooms! Very fresh! Fresh from my stumpy head!” The market people remembered the persimmons and they lined up to try his mushrooms. By lunch time, Ojisan sold every matsu-taki mushroom. Now, he had a great deal of money. Ojisan sang and danced towards his home, jingling his coins all the way. A crowd gathered in the market place. It was the mushroom pickers. “Matsu-taki mushrooms from a persimmon stump? Disgusting!” muttered one picker. “He is going to poison someone,” hissed another. “He is not even from a mushroom picker’s family!” screamed one more. They decided to put a stop to Ojisan’s unusual mushroom bearing stump. The mob ran after him. Before Ojisan could get safely into his house, they pushed him to the ground. They dug the stump out of Ojisan’s head. Now, Ojisan had a hole in his head. A great big round gaping hole. Ojisan sat on the ground in front of his house. His shoulders sagged. A stump was bad enough, but a hole? He did not notice the dark clouds gathering over his head. It started to rain but Ojisan just sat there. The hole in his head got heavier and heavier. The rain was filling his hole. Now he had a water hole! Then he heard it. Sui-Sui. Suddenly there was a great big splash… Part Six … and a fish leapt out of his water hole. Ojisan stared at the flopping fish. It was a big beautiful golden—red carp. A smile spread across Ojisan’s weathered face. Carefully he got up, not spilling a drop of his precious water. He tiptoed into his house to find…a hook and some string. “I will go fishing!” he cried. Ojisan fished all night. By morning, he caught enough carp to fill two baskets. He put the baskets on a pole and went to the market. He called to everyone he saw.

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“Fresh carp! Very fresh! Fresh from my holey head!” The market people remembered the matsu-taki mushrooms and they pushed ahead to buy his carp. In ten minutes, he sold every wriggling fish and now he had more money than he had ever seen in his life. Ojisan was overwhelmed with joy. As he dropped each coin into the sleeves of his robe, a crowd gathered beside him. It was the fishmongers. “He is not from a fishmonger’s family”! they bellowed shaking their fists at the old man. Ojisan grabbed his money and ran. The fishmongers chased Ojisan through the market. They cornered him behind the lemon carts. They scooped up the dirt from the ground and threw it into Ojisan’s water hole. Now Ojisan had a head full of mud! “EEEEIIIII,” shouted Ojisan. “Enough.” The fishmongers backed away. Ojisan stomped out of the market. Ojisan did not go home. He sat in a field. He sat there for three days. People worried about him. They brought him food. He would not eat. They brought him tea. He would not drink. On the third day, a flock of birds landed in the mud in Ojisan’s head. “Nan gi desu- ka?” What is this? He tried to shoo the birds away. Something was growing in the mud in Ojisan’s head. Part Seven He tugged and out popped a tall green plant. The birds had been eating the seeds. “Well,” said Ojisan, “if the birds can eat these seeds, so can I.” Ojisan went home. He boiled the seeds in a pot. Very bravely, he tasted them. “Ahhhh so!” Ojisan was amazed. The seeds were delicious! He invited some of his friends over and they also liked the strange seeds. They asked to take some home. Soon others heard about the seeds and came over to try them. The seeds were loved by all. Ojisan started to grow the plants in his tiny garden, but there was never enough. “Please,” begged his neighbours, “Please, let me grow your plant for you. We will pay you to grow it.” A smile spread across Ojisan’s wise old face. Soon everyone in the village was growing his plant for him and paying him for the privilege. No one grumbled, or groaned, or complained.

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“What shall we call the wonderful plant?” the villagers asked Ojisan. He rubbed his chin. He nodded. “I have decided to call it…rice.” Soon the next village was also growing Ojisan’s rice and the next village and the next. If you travel throughout Japan today, you will find rice fields everywhere you go. In the markets, they whisper that Ojiiiiiiiiiiisan is very, very, very, very old and, like the persimmon tree, very, very, very, very prosperous. Great story.

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Activity Plan Subject(s): Language/Literacy, History, Drama LEARNING EXPECTATIONS:

Students will: Develop roles (voice, gesture, body language) to depict characters Rehearse the language of the story so that it can be told smoothly Collaborate to create appropriate movement to express the different scenes in the story

• • •

RESOURCES/MATERIALS:

• •

Persimmon Tree story Props created as needed by students

GROUPINGS:

 Students working as whole class

 Students working in Pairs  Students working in small groups

 Students working individually

TIME: Activity Descriptions and Details (6 possibilities):

.

TEACHING/LEARNING

1. Remembering the Story: STRATEGIES: Performers can learn or remember the story (or one part of the  Debate story) by reading it aloud several times with expression,  Oral Presentation creating a map of the story, or by storyboarding the main  Reader’s Theatre events either hard copy or digitally (Miyata, 2001). The  Role Playing instructor could also tell or read the story in sections, one a  Discussion day for seven days and encourage the students to retell each  Interview section to a partner, orally. These techniques place the outline  Literature Circles of the story into long-term memory. Good to include some  Think/Pair/Share prompting questions.  Advance Organizer - to keep it consistent across the different chapters, please  Book Talks transfer your activity into the “Activity Plan Template”  Conferencing shared with you  Guided Reading  Guided Writing  Independent Reading 2. Becoming Storytellers:  Portfolio Students could learn the entire story and perform it for an  Reading Response audience but it is rather long. Alternatively, it could be a  Reflection shared performance in which one student learns only one  Response Journal section of the story as part of a storytelling team. Each section  Brainstorming would be performed in sequence. Students are always more  Other: eager to perform if the audience is younger than they are. So _movement______________ arrange for the storytellers to perform to a small group of children (about 8-12) in grades one or two. Encourage the tellers to be very animated by incorporating lots of facial ASSESSMENT STRATEGIES: expression and gesturing. The team members can help each  Classroom Presentation other learn the words and suggest actions the teller can use.  Conference Through a curriculum lens, the team working together to  Essay develop the storytelling performance and the techniques  Exhibition/Demonstration

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needed would be part of the creative or drama process (Ontario Ministry of Education, 2009). The performance could be a self- assessed culminating project (Barrs, Barton, Both, 2012; Meier, 2009) in a unit on oral communication. 3. Improvisation Skills: Storytelling is not a memorized art form like recalling the exact words in a scripted play. Storytelling is more improvisational. The teller remembers the basics of the story and relates it to the audience, while looking them right in the eye. I have told this story hundreds of times yet have never used exactly the same words every time. The teller often adds details to embellish the story as they go. Give one section to a small group of students to retell. Challenge them to take turns telling the story to each other and embellish the story by adding descriptive details without changing the plot of the story. Students also like to make up their own endings to each section and a new ending to the story (Lobman, 2005). This is pure improvisation or a “spontaneous acting out of a given situation in which students have to respond to the given circumstances- who, where, when, what.” (Neelands, 1988, p. 95). This form of storytelling develops creativity and can lead to students telling their own versions of the story. 3. The Art of Gesturing Place the students into small groups (4-8). Allow one student to read (or tell) a section of the story without using any gesturing. The rest of the group mimes the gestures as if they were the teller. Encourage them to stand while they are gesturing and exaggerate the gestures so they are much bigger than the normal gesturing used while talking. For example, if they are looking for something, encourage them to put their hand to their forehead and really look around (Chasse, 2009). If they are feeling on top of their head, have them use a big, wide movement to reach up, feel around the top of their head, and then freeze with a look of panic on their face. A storyteller does not have to keep talking. Sometimes the facial expressions and the gesturing is the best way to communicate the emotion or action in the story to an audience (Miyata, 2001). For some students exaggerating gesturing can be very challenging. Instruct these students to imitate another student in their group who loves to exaggerate movement. 4. Comic Timing: In each section of the story there are opportunities for the teller to play with comic timing According to Andrew (2013), comic timing is a three way interplay between the material-in this case the story- the comedian –in this case the teller- and the audience. It is often achieved through pause or hesitation. I recommend the students search their section for a moment

          

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Interview Learning Log Observation Performance Task Portfolio Question and Answer (Oral) Quiz, Test, Examination Response Journal Select Response Self-Assessment Other: _______________

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where the audience is about to be surprised by what happens. The teller can pause for a few seconds before giving it away. The anticipation creates tension for the audience and if exaggerated, can provide the teller with a bigger reaction from the audience. For example, in section one, the teller says… “was digging in his tiny garden and he uncovered…” here the teller can pause and hold out their hand, look at it and smile. Then say “sweet potatoes.” In section two the teller says, “Puzzled, he reached up to rub his poor aching head. To his amazement, he felt…” here the teller can pause, look puzzled and feel around on the top of their head and then suddenly say with great surprise. “a persimmon!” In section five the teller says… “Ojisan reached up. Growing out of his head were…” The teller can feel around the top of their head, look puzzled, suddenly gasp and say, “mushrooms!” while showing a horrified expression. There are many other examples that the students will find but I would be remiss to not mention the most important of all of the comic timing lines in the story. This version of The Persimmon Tree ends with the traditional punch line, or “ochi” as most rakugo stories do (Brau, 2008). In the last section the teller says… “He rubbed his chin. He nodded. “I have decided to call it….” Here the teller can pause, look at the audience, and announce his decision, “rice!” It is at this moment that the audience realizes the point of the whole story. 5. Story Theatre: If it is your desire to involve the entire class in a form of telling, may I suggest story theatre as a creative and exciting performance method (McWhir, 2014). This format incorporates the best features of storytelling with children’s theatre and movement. Story theatre enables all students to be involved, but does not place a burden of solo performance on many of the students who do not wish to speak lines or be centred out. Below is a structure for story theatre I have used many times with great success: Students can volunteer to be storytellers and tell a section of the story. There can be many storytellers or only one or two. This depends on the nature of your class. When I have created story theatre in the past, I have had two storytellers standing on the stage area at any given time. The stage area can be an open space in a classroom, a foyer, the library, an auditorium floor, or an actual stage. The tellers stand at the front of the stage area with a lectern and a copy of the story, one on each side of the stage area. The tellers take turns telling the story and use gestures and facial expression just as they would if telling the story solo. At the end of a story section, a teller can be replaced with another teller,

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depending on how may tellers you have. When a teller has finished their role as a teller, they join the rest of the class as the cast and continue to participate in the performance. The entire class is the cast and wears black or some subdued coloured clothing (nothing that shines, glares, sparkles or has lettering which can be distracting). All cast members are visible at all times during the story telling performance. When a student is involved in a scene, they move onto the stage area to perform. When they are not in a scene they sit on the side of the stage area and watch the story as if part of the audience. They can even applaud or laugh as needed but must remain focused on the story or they might distract from the performance. As the storytellers tell the story, the rest of the class, as the cast, enact the scenes. Some may be in the scene while others remain at the side of the stage area. Depending on who is playing an actual role (e.g., Ojisan), the character can speak a line aloud in the scene or the storyteller can speak for them. Many students can play Ojisan, as his character is depicted by a mask that is passed from student to student. The cast members assume many roles as animate or inanimate objects and build a scenes or events for each section of the story. For example, cast members can be the persimmon tree, the market place, the fruit picker mob, birds pecking at seeds, or a field of rice waving in the wind at the end of the story. I have found the students get very creative in how they depict these objects, people, or events. The scenes can be presented in tableaux (frozen pictures), scenes with movement, or choreographed as dance moves. Again, this depends on the students and your comfort level with drama and directing. The final product is often very creative and delightfully funny. Hence a new version of Rakugo telling is available to a whole new generation of students.

ACCOMMODATIONS: Story can be recorded so students can learn it orally instead of through reading. All movement can be adapted for wheelchairs. MODIFICATIONS: Language of the story can be simplified and the story sections can be explored over a period of weeks.

ASSESSMENT RECORDING DEVICES:     

Anecdotal Record Checklist Rating Scale Rubric Other: _______________

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HOMEWORK: Review story sections and movements.

TEACHER REFLECTIONS:

References Andrews, M. (2013). Dickensian Laughter. Oxford University Press. https://doi. org/10.1093/acprof:oso/9780199651597.003.0003 Brau, L. (2008). Rakugo: Performing Comedy and Cultural Heritage in Contemporary Tokyo. Lexington Books. Chasse, E. (2009). Telling Tales: A Guidebook & DVD. Neal-Schuman Publishers. Kaishi, K. (2008). Rakugo Performer: Katsura Kaishi. [You Tube]. (9:58). https://m.youtube.com/watch?v=vhkYNpwTKIQ Lobman, C. (2005). “Yes And”: The Uses of Improvisation for Early Childhood Professional Development. Journal of Early Childhood Teacher Education, 26(3), 305–319. https://doi.org/10.1080/10901020500371353 McWhir, P. (2014). Story Theatre. Fine FACTA, 14(1), 20. Meier, D. (2009). Here’s the Story: Using Narrative to Promote Young Children’s Language and Literacy Learning. Teachers College Press. Mills, D. (trans.). (1970). A Collection of Tales from Uji: A Study and Translation of “Uji shüi monogatari. Cambridge University Press. Miyata, C. (2001). Speaking Rules! Pembroke Publishing. Neelands, J. (1988). Beginning Drama 11–14. David Fulton Publishers. Ontario Ministry of Education. (2009). The Ontario Curriculum Grades 1–8: The Arts. Queen’s Printer for Ontario.

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Oshima, K. (2006). Rakugo and Humor in Japanese Interpersonal Communication. In J.  Milner Davis (Ed.), Understanding Humor in Japan. Wayne State University Press. Shores, M. (2009). Rakugo: Performing Comedy and Cultural Heritage in Contemporary Tokyo [Review of Rakugo: Performing Comedy and Cultural Heritage in Contemporary Tokyo]. Asian Theatre Journal, 26(1), 191–194. University of Hawai’i Press. https://doi.org/10.1353/atj.0.0028 Wells, M. (2014). Rakugo. Encyclopedia of Humor Studies, 2, 626–628.

CHAPTER 8

Importance of Proverbs in Caribbean Culture Natasha Burford and Lachmi Singh

Proverb “Ben di tree while it young, cause when it old it a go bruk” (Bend the tree while it is young, because when it is old it will break). Meaning Teach your children while they are still young, as they grow older it becomes more difficult to communicate and to impart values, lessons, and knowledges to them.

Objectives • To examine the origins of proverbs in English-speaking Caribbean countries. • To explore how knowledge and teachings are handed down through the generations in Caribbean cultures using proverbs. • To encourage the reader to think about their own experiences and the role of proverbs, folktales, and stories.

N. Burford (*) • L. Singh University of Toronto, Toronto, ON, Canada © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_8

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Locating Self as Author Dr. Natasha Burford: I am a storyteller. I have been an educator with the Toronto school board for almost two decades and am currently working as a union executive for the teaching local. I am also a lecturer at the University of Toronto and the founder of an educational consulting firm. I am a mother of three teenage boys, a wife, a daughter, a sister, aunt, and puppy mom. I refer to myself as a “TrinJam”. My mother is from Trinidad and Tobago. My father is from Jamaica. They both emigrated to Toronto in the 1970s. I am a second-generation Canadian, born in Toronto, Canada. I grew up in Toronto community housing and attended predominantly white elementary schools until I transferred to a high school in the Jane and Finch community and experienced a culture shock. I did not immediately fit in. I came face to face with my Blackness. I questioned who I was and what it meant to be Black. It wasn’t until I enrolled in postsecondary education and pursued my master’s in education that I had an epiphany moment. I was introduced to the works of Frantz Fanon, and it was revolutionary. I began questioning the schooling system and all that I had been taught. I questioned my identity as a young Black girl in a system that was not built for me or my success. Questioning became my journey to know myself, my culture, my ancestry, and all the things that were not given to me throughout my schooling years. As Molefi Asante promotes, I put myself in the centre of my learning and began the challenging path of decolonization of my mind. I have since received my doctorate in social justice education. As a sessional lecturer at the University of Toronto, I am now teaching Black Feminist Thought and Race and Racism. I am a student and teacher of unlearning, relearning, and teaching that race matters! The proverb “Ben di tree while it young, cause when it old it a go bruk” was the mantra of my youth. Though I did not hear this proverb uttered directly to me by my parents, I knew and felt it was their way of parenting. I would hear this proverb in adult conversations and my parents talked with other parents, sharing anecdotes of childrearing. My mother instructed us with a heavy hand. She wanted us to follow her rules, so we knew how to behave outside in the community. She took great pride teaching us manners and making us presentable. Now as a parent of three boys, I understand what it means to invest in children while they are young, so that it is easier or more manageable to reason

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with them as they grow. I have implemented the teachings of many proverbs, without even realizing it. Proverbs have been a way to pass down traditions throughout my family and will continue to play an important part in my life. Dr. Lachmi Singh: I am a first-generation Canadian, located in Toronto, Canada. I am a racialized, woman of South Asian descent. I am a daughter, wife, aunt, and dog mom. I am the first in my family to attend university and I hold a doctorate degree. I have worked in higher education for almost twenty years as a researcher, teaching faculty, and administrator. I was born in Georgetown Guyana; my ancestors were indentured laborers brought to what was then British Guiana to work on the rice and sugar plantations in the late 1800s and early 1900s. Growing up in Guyana and, by extension, in Caribbean culture, idioms, and proverbs were a part of everyday life. Although school and work settings taught the importance of learning and using standard English, in informal or familial settings the use of Creole English was commonplace. Many proverbs or idioms were passed down from generation to generation, even today, I would preface one of these expressions with the phrase “as my Granny used to say”. Many of these phrases contained a life lesson or words of wisdom that incorporated some element of nature, for example, trees, various animals, water, or some other variation. Reflecting on this, it reminded me that as farmers, of how connected my elders were to the land, observing its characteristics and drawing similarities with human nature. As someone educated in mostly Western academic institutions, I find the connections to other ways of knowing, learning, and what constitutes knowledge very comforting. The proverb “Ben di tree while it young, cause when it old it a go bruk”, resonated with me because of the importance of education in my family and extended community growing up. As a youth, there was strong discipline instilled from an early age, knowledge was not limited to what we learned in school but from interactions with family members, especially elders. Many of these lessons are often imparted under the umbrella of “manners” and manners can be broadly construed as principles, ethics, respect, morals and so on. These teachings formed the foundation from which we dealt with the challenges encountered in life. The proverb also reminded me of the importance of community in West Indian culture, it

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was not only your immediate family that had a role in shaping your upbringing, in fact, this role was extended to non-familial “aunties,” teachers, and neighbors, in fact, any member of the community could also remind you of your “manners”. Thinking about the role of proverbs and idioms in my early life, I look forward to imparting these teachings and knowledge to the next generation.

Origins Prior to European colonization in the Caribbean, the lands were inhabited by indigenous peoples (Torres et al., 2013). The British colonized islands included Trinidad and Tobago, and Jamaica, and extended further into South America (Guyana) using enslaved labor from West Africa to work on the plantations (Torres et  al., 2013). Following the passing of the Slavery Abolition Act, (1833), indentured laborers from South Asia were brought to work on the land (Torres et  al., 2013; Galenson, 1984; Birth, 1997). In the context of Anglophone Caribbean, Aceto (2020) describes the term “Caribbean Englishes” to describe English-based Creole that emerged “from the sociohistorical circumstances of colonization” (p. 87). In his work, Fanon (1967) discusses how language was used by the oppressor to maintain power over the oppressed (Flores-Rodríguez, 2012). In the case of British colonization, English as the dominant language was spread throughout the islands amongst the colonized who had no other language in common to communicate with each other (Aceto, 2020). The result was the variations of English Creole we hear spoken in the Caribbean islands today. However, it is not to say the language of the colonizer has remained unchanged in the Caribbean, rather as Flores-Rodríguez (2012) points out, the work of Trans-Caribbean literary figures has created a discourse that “has been defined for and by its inhabitants, rather than by geographical, racial, or national boundaries” (p. 34). Due to the historical contexts and linguistic variations mentioned above, the absolute origin of the proverb “Ben di tree while it young …” is unknown, however it is commonly used in Jamaica, Trinidad and Tobago, Guyana and in other Caribbean cultures. Variations of the proverb can also be found in German, Italian, Bantu, Danish, Mayalan, Chinese, Hungarian, and Latin cultures. An adaptation can also be found

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in the King James Bible at Proverbs 22:6 “Train up a child in the way he should go: and when he is old, he will not depart from it” (KJB 2020). One of the reasons for choosing this proverb for discussion is because it is about imparting knowledge and teachings in relation to child development (Daniel et al., 1987), it provides an opportunity to look at the role of proverbs in Caribbean culture as proverbs are an important means of knowledge transference and reproduction.

Importance of Proverbs in Caribbean Culture Senior (1987) asserts that in Jamaica proverbs are used as educational tools to convey warning, and wisdom. In the literature, there are multiple examples of Jamaican proverbs (Beckwith, 1925). Beckwith (1925) posits that, “Proverbs enter constantly into the life of folk; borrowed sayings undergo a process of remolding… new sayings patterned upon the old” (p. 5). Handed down from generation to generation, proverbs are an effective way of encapsulating the wisdom of experience (Willhauck, 2013). As a child of Jamaican parents who migrated to the United Kingdom, Reddie (2015) recalls his experience of listening to elders meet to talk about stories from “back home” using their knowledge and experiences to make sense of their new environment, he writes, “[i]t took me many years before I realized I was being inducted into and socialized within a religio-cultural world view that was markedly different…”(p. 42). Reddie’s account is relatable, today many of us from the Caribbean diaspora can recall similar experiences, sometimes we listened to our parents and elders in fascination as they recounted these practical wisdoms, other times in exasperation. However, regardless of our reception to their teachings, the foundations have endured with us to adulthood. Integral to the proverb are three main characteristics: the first is one’s positionality to the meaning of the proverb, the second is the number of times the listener hears the proverb and comes to associate it with certain times or behaviors, and thirdly, how the listener will recall the proverb and apply it to their own experiences (Reddie, 2015; Melchert, 1998).

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Ben di tree while it young… Daniel et al. (1987) examines the tradition of using proverbs in Africa and the African Diaspora, often as an educational and communicative tool used by parents. Proverbs are used to teach children the differences between right and wrong in their formative years and helps to guide who they will be become in adulthood; a child’s behavior outside of the home might be perceived as a reflection of their parents. In the Caribbean context, to teach the children when they are young could also be interpreted as a way of protecting children in an unfamiliar environment, to help them avoid pitfalls experienced by their foreparents (Reddie, 2015; Daniel et al., 1987). The historical context of colonial oppression in the Caribbean would have casts its shadow over how children were taught outside of the classroom, for example, teachings from religion, folktales, and lived experiences. Richards-Greaves (2016) points out that the young people in Guyana are taught through proverbs not to “lime” (to be idle), not to be “frontin” (forward), and to avoid growing up too fast “ripen” (p. 416). Examples of proverbs used to teach children when they are young include (Daniel et al., 1987, pp. 502–504): • “Two wrongs don’t make a right”—Seeking revenge is not the answer. • “You can lead a horse to water, but you can’t make him drink”—It is up to the individual to decide what is the right thing to do. • “You can’t judge a book by its cover”—Avoid making assumptions. • “Friends does carry yuh buh they don’t bring yuh back”—When problems arise friends may not be there for you (Layne, 2020).

Modern Context As many Caribbean families migrated to the United States, Canada, and the United Kingdom in the 1970s–1990s, the diasporic communities in these countries grew, and within it the use of proverbs for teaching children continued to evolve. Hewitt (1988) discusses the use of Caribbean Creoles in Britain citing the Swann Report (HMSO, 1985) which recognized the use of West Indian dialects within the English language. Outside of the context of the classroom, “Creole-inflected London English” or “London Jamaican” as Hewitt (1988) describes is a form of “anti-­ language” involving the use of “code switching” between standard English

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and Creole English, amongst the second and third generations. In these new environments, parental stories and teachings may not have the same impact on the younger generations as other influences. One example is the medium of music, Hodges (2005) looks at the work of Bob Marley, whose song lyrics were filled with proverbs. One of Marley’s most famous songs, “I shot the Sheriff” (1973), warns “Every day the bucket goes to the well, but one day the bottom will drop out”, a lesson to remind the young that repeated risks can have consequences. It is inevitable that those of us who grew up in Caribbean cultures have seen change; change of countries, change of communities, change in the structure of the family unit amongst others. What remains rooted are the values and teachings handed down from our ancestors to our parents, to ourselves, and to our children. These teachings embody common sense wisdom (Willhauck, 2013) that still hold true today, storytelling and proverbs are more than just teachings, they are ways we keep communication open with our children. When using proverbs as a means of teaching and educating, one of the ways I work to communicate with the younger generation is to relate it back to a personal story in my own life, in doing so, it gives my story credibility and relatability within their own contexts. In contrast, it was not uncommon for our elders to tell a story or proverb in the abstract or in the context of someone they knew of, or had heard of from someone else. The former is often more effective in today’s context as it encourages communication through curiosity and the asking of questions. Another effective method of using proverbs is to try and embed it in everyday conversations and situations so that they are not only used in the context of warning, but also to reinforce positive messages. One proverb that expresses this message is the Jamaican proverb “Ebry day da fishing day, but ebry day no fe catch fish” (Beckwith, 1925) meaning that everyday you try your best even if you don’t always see the rewards immediately. Merriam et al. (2005) note that the Western views of learning dominate the education system in North America and Europe with a focus on the individual rather than the collective. Furthermore, it is noted that forms of storytelling, and folktales are absent from Western education (Merriam et al., 2005). Wanless and Crawford (2016) recommend that schools need to utilize literary resources that allow children to identify with storylines and characters as well as learn about other cultures. We would like to summarize by pointing out that publications like this one are important for the young generation living in the Caribbean and the diaspora because it

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provides an opportunity to read about Caribbean culture and reinforces that there are multiple sources of learning and knowledge (Freire & Macedo, 1999; Grey, 2018).

Activity Plan Subject(s): Subject(s): Language Arts

Grade: Intermediate (7/8)

LEARNING EXPECTATIONS: -

-

Discuss the diversity of West Indian Culture (Indigenous, African, East Indian, European) cultural and linguistic influences. Discuss the origins of popular Caribbean proverbs Discuss the language of resistance as a counter response to colonialism

Overall Expectations: - read and demonstrate an understanding of a variety of literary, graphic, and informational texts, using a range of strategies to construct meaning - recognize a variety of text forms, text features, and stylistic elements and demonstrate understanding of how they help communicate meaning Specific Expectations: 1.1 - read a wide variety of increasingly complex or difficult texts from diverse cultures, including literary texts (e.g., short stories, poetry) and informational texts. 1.4 - demonstrate understanding of increasingly complex texts by summarizing important ideas and citing a variety of details that support the main idea. 1.5 - develop and explain interpretations of increasingly complex or difficult texts using stated and implied ideas from the texts to support their interpretations. (inferences) 1.6 - extend understanding of texts, including increasingly complex or difficult texts, by connecting the ideas in them to their own knowledge, experience, and insights, to other familiar texts, and to the world around them (Extending understanding)

RESOURCES/MATERIALS: -

Novel: the Anansi story Chart paper Markers Various proverbs on chart paper Any cultural artifacts (used for museum walk activity)

GROUPINGS:

 Students working as whole class

 Students working in Pairs  Students working in small groups

 Students working individually

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TIME: Activity Description and Details: 20 min

.

30 min

Hook: The Museum Walk Mimic a visit to a museum in your classroom. This is a great way to get the students to observe various proverbs and become familiar with the culture of proverbs. Display posters, photographs, common proverbs, interesting props or anything that displays the culture that you want the students to absorb. Briefly introduce the activity and pose a focus question. For example, as you walk around the room, consider the question ‘What do the various examples of sayings tell us about proverbs?’ Arrange the students at different starting points encourage the student to partner up and talk to each other as they make observations Bring the students back together for a whole class discussion. This exercise encourages students to make careful observations and thoughtful interpretations. It helps stimulate curiosity and sets the stage for inquiry. Ask: What do you observe? What do you think about that? What does it make you wonder? Encourage students to jot down some of the points that stand out in their journal. Activity Class question: What are the mechanisms in your culture that encourages the passing down of traditions, stories and culture?

Take some examples from students and add it to chart paper. 2) Read Aloud - read an Anansi story (Jamaican folklore) of a cultural example of traditions being passed down through storytelling. --Prompt kids to reflect and respond in terms of how they feel after the folktale that was read 1) Write the proverb on the classroom board or chart paper. Ben di tree while it young, cause when it old it a go bruk. Ask students: What do you think this proverb means? Write the answers on the Board/chart paper surrounding the proverb. 2) Guiding questions: What role did the proverbs play in Caribbean communities' pre-colonialism, if any? How were proverbs used by family life and/or spiritual practices? How are the elements (that was listed above) of the culture altered by colonialism? What may have been lost? How does culture and traditions get passed down from

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TEACHING/LEARNING STRATEGIES:                    

Debate Oral Presentation Reader’s Theatre Role Playing Discussion Interview Literature Circles Think/Pair/Share Advance Organizer Book Talks Conferencing Guided Reading Guided Writing Independent Reading Portfolio Reading Response Reflection Response Journal Brainstorming Other: _______________

ASSESSMENT STRATEGIES:               

Classroom Presentation Conference Essay Exhibition/Demonstration Interview Learning Log Observation Performance Task Portfolio Question and Answer (Oral) Quiz, Test, Examination Response Journal Select Response Self-Assessment Other: _______________

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generations today in your specific culture? Provide examples.

ACCOMMODATIONS:

ASSESSMENT RECORDING DEVICES:

extended time for students if needed

MODIFICATIONS: Students can volunteer to present their thoughts of the lesson if they wish, or they can share with their elbow partner.

HOMEWORK:

    

Anecdotal Record Checklist Rating Scale Rubric Other: _______________

TEACHER REFLECTIONS:

-- Focusing on descriptive language, visualizing, and using creativity. Have students develop their own proverb that represents their culture and includes a moral theme or belief.

References Aceto, M. (2020). Caribbean Englishes. In C.  L. Nelson, Z.  G. Proshina, & D.  R. Davis (Eds.), The Handbook of World Englishes (pp.  87–103). Wiley Blackwell. Beckwith, M. (1925). Jamaica Proverbs. Vassar College. Birth, K. (1997). Most of Us are Family Some of the Time: Interracial Unions and Transracial Kinship in Eastern Trinidad. American Ethnologist, 24(3), 585–601. https://doi.org/10.1525/ae.1997.24.3.585 Daniel, J. L., Smitherman-Donaldson, G., & Jeremiah, M. A. (1987). Makin’ a Way Outa No Way. Journal of Black Studies, 17(4), 482–508. https://doi. org/10.1177/002193478701700406 Fanon, F. (1967). Black Skin, White Mask. Grove Press.

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Flores-Rodríguez, D. (2012). Language, Power and Resistance: Re-Reading Fanon in a Trans-Caribbean Context. The Black Scholar, 42(3–4), 27–35. https://doi.org/10.1080/00064246.2012.11413608 Freire, P., & Macedo, D. P. (1999). Pedagogy, Culture, Language, and Race: A Dialogue. In J. Leach & B. Moon (Eds.), Learners and Pedagogy (pp. 46–58). P. Chapman Publishing. Galenson, D.  W. (1984). The Rise and Fall of Indentured Servitude in the Americas: An Economic Analysis. The Journal of Economic History, 44(1), 1–26. https://doi.org/10.1017/s002205070003134x Grey, M. (2018). Bend de Tree When-e Young: Cultural Relevance in Reading Books. Ed.D. thesis. Hewitt, R. (1988). Creole in the Classroom: Political Grammars and Educational Vocabularies. The Sociological Review, 36(1_suppl), 126–144. https://doi. org/10.1111/j.1467-­954x.1988.tb03329.x HMSO. (1985). Education for All, the Report of the Committee of Inquiry into the Education of Children from Ethnic Minority Groups. HMSO. Hodges, H. (2005). Walk Good: West Indian Oratorical Traditions in Bob Marley’s Uprising. The Journal of Commonwealth Literature, 40(2), 43–63. https://doi.org/10.1177/0021989405054305 Layne, G.-R. (2020). Honouring Caribbean Folk Cultures: A Personal Reflection. Cultural and Pedagogical Inquiry, 11(3), 92–104. https://doi. org/10.18733/cpi29506 Marley, B., & The Wailers. (1973). I Shot the Sheriff [Record]. Tuff Gong Island. Melchert, C. F. (1998). Wise Teaching: Biblical Wisdom and Educational Ministry. Trinity Press International. Merriam, S. B., Doraisamy, L., Findsen, B., Kamis, M., Kee, M., Mohamad, M., Ntseane, G., & Thaker, S.  N. (2005). Challenging the Hegemony of Western Views of Learning. Adult Education Research Conference. Reddie, A. G. (2015). Telling the Truth and Shaming the Devil: Using Caribbean Proverbial Wisdom for Raising the Critical Consciousness of African Caribbean People in Postcolonial Britain. Black Theology, 13(1), 41–58. https://doi. org/10.1179/1476994815z.00000000046 Richards-Greaves, G. (2016). “Taalk Half, Lef Half”: Negotiating Transnational Identities Through Proverbial Speech in African Guyanese Kweh-Kweh Rituals. The Journal of American Folklore, 129(514), 413. https://doi.org/10.5406/ jamerfolk.129.514.0413 Senior, O. (1987). A-Z of Jamaican Heritage. Heinemann Educational Books. The New King James Version. 2020. Psalm 22:6. Torres, J.  B., Stone, A.  C., & Kittles, R. (2013). An Anthropological Genetic Perspective on Creolization in the Anglophone Caribbean. American Journal of Physical Anthropology, 151(1), 135–143. https://doi.org/10.1002/ ajpa.22261

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Wanless, S.  B., & Crawford, P.  A. (2016). Reading Your Way to a Culturally Responsive Classroom. YC Young Children, 71(2), 8–15. http://www.jstor. org/stable/ycyoungchildren.71.2.8 Willhauck, S. (2013). Freeing Speech: Proverbial Wisdom and Faith Formation as Liberation. Religious Education, 108(4), 418–427. https://doi.org/10.108 0/00344087.2013.805035

CHAPTER 9

Maintenance of an Iranian Identity through Oral Culture and the Shahnameh: “The Shame Is Not In Asking, Shame Is In Not Knowing” Ardavan Eizadirad

Objectives • To gain a better understanding of how different mediums of oral culture such as poetry, folklore stories, proverbs, and idioms are used for educational purposes • To become critically conscious of when and where idioms are shared and in what ways to facilitate learning • To understand the interconnectedness between culture, traditions, language, and way of life and its maintenance intergenerationally through oral culture and storytelling

A. Eizadirad (*) Wilfrid Laurier University, Waterloo, ON, Canada e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_9

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Introduction This chapter examines the rich history of oral culture in Iranian traditions through sharing of folklore stories, poetry, proverbs, and idioms. The Shahnameh written by poet Ferdowsi, translated and referred to as The Persian Book of Kings, is one of the world’s longest epic poems which uses two-line verse couplets to document the history of Iran using a combination of myth and facts (Zare & Zamin, 2021). The poetic stories outline the history of the Persian empire from the creation of the world until the Muslim conquest in the seventh century. Regarded as a literary masterpiece, the Shahnameh is considered instrumental in maintaining the history of the Persian culture and the maintenance of the Farsi language across generations. Communities and cities across Iran each have their own subcultures affiliated with unique ways of speaking, dressing, food, and mannerism reflecting the local culture and history. Elders and adults often share stories, proverbs, and idioms including those in the Shahnameh at gatherings during communal activities for educational and entertainment purposes. Through storytelling and sharing of oral culture folklore stories, proverbs, and idioms have become central in educating generations of Iranians worldwide. The focus of this chapter will be on examining the idiom, “‫( ”پر�سیدن عیب نیست ندانسنت عیب است‬porsidan e’yb nist, nadānestan e’yb ast) which translates into “The shame is not in asking, shame is in not knowing.”

Author Positionality: My Journey from Iran to Toronto, Canada Iran has approximately 85.7  million people as its population (Worldometer, 2022). I self-identify as Iranian-Canadian and a Muslim in terms of who I am. I was born in the city of Rasht in the northern part of Iran which is the capital city of the Gilan Province. I was named after one of Iran’s kings, Ardavan (‫)اردوان‬, who was the last king of the Parthians (247 BCE–224 CE) whose story is told through the Shahnameh. My dad was an agricultural engineer in Iran, and as a result, we would move often as a family to different cities due to where he would be assigned for various work projects. An interesting fact about my family is that we are all born in different Iranian cities; my dad Kamal in Astaneh, my mom Parvaneh in Zanjan, my older brother Arsalan in Shiraz, and myself in Rasht. Living in different cities allowed us to experience unique local cultures and their customs and

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traditions as each city has its own dialect, mannerism, ways of dressing, cultural traditions, and dances. Wanting to pursue a different life affiliated with more liberties and freedoms, we immigrated to Toronto, Canada in October 1998 on a cold snowy day. That day in October when we landed in Toronto it was the first time I saw and felt snow. It sure was not the last time. Adjusting to a new life in Canada was not easy, particularly learning a new language and making new friends. We were sponsored by my uncle and aunt who helped us settle and get started with a new life living in an apartment. At school, I made a new Iranian friend who had also recently immigrated to Toronto, Canada. His name was Farhad and we were able to communicate in Farsi and share the challenges and frustrations we were experiencing attending school in a new country and trying to master the English language. We would spend many evenings and weekends outside playing or going to each other’s house. My parents extensively encouraged me to master the English language by reading books with me and watching movies. At times, it was frustrating as I would read things or watch videos, but I would not understand its meaning. That is when they also started using external motivation as a strategy to help me stay engaged in reading. One summer my parents indicated that for every book I read and provide them with a brief written or oral summary, they would give me $2. This was a gamechanger! I began reading books non-stop, mainly the Goosebumps series which was very popular at the time. They continued to speak to me and my brother in Farsi at home wanting us to maintain our first language and not forget it. The combination of constant support and encouragement along with external incentives for reading inspired me to become an avid reader. This created a strong foundation and passion for reading and learning.

Storytelling, Proverbs, and Idioms as Educational Tools Where does oral culture come into all this? Iranians are very passionate about food and Chai (tea). Particularly, if you are from one of the cities north of Iran (Shomal area), the intricacies of food and Chai is a communal language that unites people for dialogue and conversations. If you visit anybody in Iran, whether at home or at their place of work, they will often invite you to sit down to have some Chai. While having Chai together,

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people have conversations about their day ranging from discussions about local and world politics to how things are going. The use of proverbs and idioms are very popular in terms of how people greet each other and share what they are thinking and experiencing (See Persian Online, 2007 for a list of popular idioms often used in Iranian culture). As Raeisi (2012) explains it, “Proverbs [and idioms] are the sentences which imply great wisdom and pure thought and their simplicity and clarity causes to be acceptable and admirable for all people, so that later have became common and placed in folklore” (p. 887). Similarly, as Zare and Zamin (2021) point out, “Proverbs [and idioms] form a large part of a nation’s culture and reflect the thoughts, tastes, customs and habits of a society” (p. 129). Overall, folklore stories, proverbs, and idioms are integral parts of oral culture in Iran and it is passed down through daily conversations and dialogue amongst people in various settings through communal activities such as consuming tea or eating food together. For my parents, adjusting to a new life in Canada was difficult. As part of settling and starting a new life, both my parents started working in precarious jobs; my dad at a pizza shop and my mom returning to school and working at a coffee shop to support our family. They also attended English classes in the evenings. But they continued to educate me and my brother about our Iranian culture, heritage, and traditions through daily conversations and storytelling about our family history. For breakfast, we would often have tea and cheese (paneer) with bread which is common in Iranian culture. That is when as a family we would talk about local and world events and how we were preparing for the day. They would with intentionality speak to us in Farsi at home so we would not forget the language. My mother has a gift and passion for cooking. Through her mother’s (my grandmother) oral teachings and demonstrations, she has mastered how to make many traditional Persian cuisines, particularly dishes affiliated with north regions of Iran such as Kalam Polo, Adas Polo, Torshi Tareh, Zereshk Polo, and Fesenjoon (see Batmanglij, 2020 for extensive list of Persian recipes). We would regularly host these big feasts and family gatherings where family and friends would share stories, read passages from famous poets such as Rumi and Hafez, and discuss politics and life experiences. We would have lengthy conversations while eating together, where various proverbs and idioms were commonly shared to make a point about something that was being discussed. My dad is someone who has a great memory. He would often share with me various statistics, stories, and idioms during our conversations,

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particularly when he wanted to speak to me about a specific situation involving a big decision. My grandfather also loves to share stories and historical facts about Iran as part of educating me. As a collective, these conversations contributed to me continuing to learn about Iran and wanting to know more about my cultural roots and family history. Growing up, I was shy as a child. My dad encouraged me to play competitive sports to break out of my shell and develop as a person more holistically. I started with competitive soccer, as that is the national sport of Iran (referred to as football in Iran). Most of my friends at school were more into basketball which inspired me to begin playing it. Due to costs, my dad asked me which sport I would like to pursue playing competitively outside of school hours. I chose basketball as I figured it is more accessible since I can play it all year round indoors. During this and many other conversations involving me making decisions around what I wanted to do in life and what to pursue, my dad would open the dialogue with reference to a story or with the use of a proverb or idiom. As a shy child, I did not want to ask many questions particularly when I had a language barrier or did not feel comfortable expressing myself through words due to fear of making mistakes. My parents, grandparents, teachers, and coaches would notice this and encourage me to speak up and be more self-expressive. A common idiom that was shared with me on multiple occasions to encourage me to ask more questions was the following: ‫ ندانسنت عیب است‬٬‫پر�سیدن عیب نیست‬ porsidan e’yb nist, nada ̄nestan e’yb ast Translation: “The shame is not in asking, shame is in not knowing.”

This idiom has resonated with me and remained with me all my life. As Hadissi (2010) explains, “they [referring to proverbs, idioms, and folklore stories] influenced ordinary people…which helped them to cope with the everyday challenges of life” (p. 599).

Meaning and Take-Away Message of the Idiom The idiom translates into “The shame is not in asking, shame is in not knowing.” Based on my research, the country of origin is Iran, but you may find some similar versions of the idiom across different cultures and continents (Dei & McDermott, 2019). Coming from a family who highly

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valued and prioritized education, the idiom spoke to me in a way that was simple yet powerful. Parents can give you pep talks or lecture you when you make a poor decision or behave badly and it goes over your head, but when they spoke to me through idioms and proverbs I listened more, and it made the message of what they were expressing more practical. In other words, when I heard it through a story, proverb, or idiom it was more digestible and consequentially more effective as an educational moment. As a young person, growing up trying to figure out who I was and what I wanted to pursue, at a time where I was mastering the English language, learning some basic French through my classes at school, and forgetting some aspects of writing and reading in Farsi, it was a challenging time. I became very intentional in asking more questions, as part of wanting to learn more and be more to cultivate my full potential. I applied this mode of thinking both in school, in playing basketball, and in my personal relationships.

Questioning as an Art for Activism and Advocacy By extension, the idiom is very relevant in today’s society where we see a rise of advocacy and activism to stand up to various forms of systemic oppression and injustices through questioning and asking difficult questions. Most recently, we are witnessing the rise of another revolution in Iran, symbolized and inspired by the death of Mahsa Amini, who was killed by the morality police. This collective resistance both within the country and internationally is being led by women and girls. The slogan for the movement has become known as “Women, Life, Freedom”. Questioning becomes an art form for activism through journalism and various digital platforms. Counter-stories become important to challenge deficit thinking or narratives that are biased or reinforce stereotypes about minoritized identities and communities (Eizadirad et al., 2022; Eizadirad & Portelli, 2018). Questioning is also important in learning more about one’s family and historical and cultural roots, particularly for those who have been displaced due to war and other tragic world events such as natural disasters. Questioning becomes central to learning more, inviting multiple perspectives to be heard rooted in various lived experiences, and being an advocate, ally, or an activist. Asking critical questions can facilitate examining whether institutional policies and practices are (in)equitable and what actions can be taken as individuals or collective groups to advance social justice. Deficit thinking about racialized and minoritized groups can be

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disrupted if they are able to tell their own stories to disrupt colonial logic and stereotypical representations of them. Safe spaces do not exist, but as educators, parents, and community members, we need to strive to create brave spaces (Eizadirad & Campbell, 2021) where dialogues take place from different perspectives to tackle social issues. Questioning, listening, and mobilizing with intentionality becomes integral to disrupting normalized narratives about people and where they live, and giving them an opportunity to tell their own stories  authentically. This relates to the importance of representation, or lack of it, that exists in classrooms through curriculum content and pedagogies. Educators and institutions are becoming more conscious of the need to have diverse representation that reflects the people they serve. This idiom which emphasizes the importance of asking questions became foundational in pursuit of education and wanting to better myself and the communities that I am a part of. It led to my educational aspirations in pursing Kinesiology and Exercise Science as part of  my undergraduate degree, followed by a Bachelor of Education to teach in schools as an Ontario Certified Teacher. I then continued my thirst for more knowledge by completing a Master of Education in Social Justice and a PhD in Curriculum, Teaching and Learning at the Ontario Institute for Studies in Education at the University of Toronto. Although I have received such accolades, the commitment to learning and having a growth mindset in a humble manner is paramount. I continue to learn through oral culture with conversations with my parents, grandparents, family members, and others in the community. I further continue on the path of learning by indulging in Persian folklore stories, music (artists such as Mohammad-Reza Shajarian and Sima Bina), calligraphy, movies, and the works of famous Persian poets, including Rumi (1207–1273), Hafez, and Forough Farrokhzad (1934–1967).

Learning and Becoming More through My Cultural Roots and Family History In 2012, after 14 years away from Iran, I took a trip with my dad to visit family in Iran to continue to learn more about my cultural roots and family history. I was amazed by how often folklore stories and idioms were used as part of conversations throughout the day over tea and food in Iran. These were so effective as educational tools, yet there was no one

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place or book in which they were all documented. They had been passed down orally across generations, household by household, community by community, and city by city through conversations in communal spaces. It made me think of how citational practices that are often emphasized at school can become exclusionary by treating oral culture as inferior, or publishers refusing to include proverbs or idioms due to their origins not being known and hence not being able to be cited with a credit. This became an inspiration to co-edit and produce a book such as this, where we theorize the power of oral culture and discuss through personal narratives and life experiences the importance of folklore stories, proverbs, and idioms as powerful educational tools that facilitate learning across cultures, spaces, and places. I continue to read and engage in Persian oral culture and traditions to expand and learn more about my Persian identity as well as learn more about Iranian history, culture, and traditions. I want my future children to know their own family history and be proud of it!

Implications for the Classroom: Centering Oral Culture Oral culture and insights gained from folklore stories, proverbs, and idioms continue to impact my approach and pedagogy as an educator (Eizadirad & Campbell, 2021). I am currently an Assistant Professor in the Faculty of Education at Wilfrid Laurier University. As part of training future teachers, I spend extensive time discussing the difference between equality and equity, the systemic nature of oppression, and how students need to be supported through inclusive practices, where they feel like they belong in schools for who they are and their history, cultures, and traditions. I tell stories that matter to me and encourage teacher candidates to do the same. It is acceptable to share painful and traumatic experiences and be vulnerable with our students as this has become a language and a tool to develop a community of learners who care about each other’s well-­ being holistically beyond marks, curriculum content, and academics. Questioning and constructive discussions are pedagogical tools that can help educators see themselves as activists and advocates beyond a neoliberal education system that often pressures them to be silent about social issues and be neutral to avoid criticism. I encourage teachers to build rapport with students and their families and learn about their circumstances outside of school hours to support their needs. Parents and community

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members can be invited to visit the classroom to share their knowledge and lived experiences through storytelling, proverbs, and idioms. This also creates exposure for students and other teachers to different languages. By learning about others through their own narratives, we can disrupt deficit thinking and stereotypes so prevalent in society and media representations. It is significant that educators are intentional in centering oral culture in their classrooms where they share stories from different cultures as part of creating content that resembles the identities of students and the issues impacting them. Oral culture is also central to Indigenous traditions, ceremony, perspectives, knowledges, and ways of being (Battiste, 2013). I encourage educators to allow students to speak in their home language in their classroom as a means of creating culturally sustaining pedagogies where students do not forget who they are at the expense of mastering the English language, but rather learn the language and use it to express how proud they are of the different cultures they are exposed to, and advocate for systemic change to advance social justice. Storytelling, proverbs, and idioms are great tools and mediums to facilitate learning with students, youth, and adults of all stages from all walks of life (Cook, 1969; Giacchino-­ Baker & Baker, 2002; Hadissi, 2010). Oral culture can facilitate making connection with others and allowing multiple perspectives to be heard. It is also important to consider when and where to share stories, proverbs, and idioms as well as what mediums to use to reach out to different audiences. Getting students to tell their own stories, related to their upbringings, cultures, and traditions is powerful as it gets them to center who they are and what they would like to share with the world. Modern forms of storytelling, such as HipHop, podcasts, or documentaries, can be examined as mediums to share and amplify the impact of storytelling. Lastly, students can be encouraged to do the sharing using digital  platforms they are comfortable with or are currently a part of, including popular social media platform such as Tik Tok, Instagram, Snapchat, or Facebook.

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Activity Plan: The Art of Questioning— Understanding Who We Are through Oral Culture and Poetry Subject(s): Social Studies, History, or Geography LEARNING EXPECTATIONS: - Inquiry: use the social studies inquiry process to investigate different perspectives on their family history and lived experiences (FOCUS ON: Perspective) - Understanding the significance of the role of oral culture in their families and personal histories: Demonstrate an understanding of significant experiences of, and major changes and aspects of life in, various historical and contemporary communities (FOCUS ON: Significance) - Understand the important of questioning as a tool to facilitate learning and learn more about their interests and passions - Interpret and analyse information presented through various social medium platforms- analyzing the role of the storyteller in the narrative that is shared and received by different audience TIME: Activity Description and Details: (10 minutes)

(10 minutes)

Check-In with Students - Arrange the room so students are sitting in a circle facing each other. Go around and each person shares how they are feeling on a scale of 1 to 10 (with 1 being very poor and 10 being excellent) and one good and bad thing that has happened in the last 24 hours. Establishing a Brave Space to Share Personal Identities and Lived Experiences Read Invitation to a Brave Space poem by Micky ScottBey Jones (n.d) outlined below. Invitation to a Brave Space “Listen Together we will create brave space. Because there is no such thing as a “safe space” — We exist in the real world. We all carry scars and we have all caused wounds. In this space We seek to turn down the volume of the outside world, We amplify voices that fight to be heard elsewhere,

RESOURCES/MATERIALS:

I am From Poem templates and examples which are provided in the body of this activity.

GROUPINGS:

 Students working as whole class

 Students working in Pairs  Students working in small groups

 Students working individually

TEACHING/LEARNING STRATEGIES:                    

Debate Oral Presentation Reader’s Theatre Role Playing Discussion Interview Literature Circles Think/Pair/Share Advance Organizer Book Talks Conferencing Guided Reading Guided Writing Independent Reading Portfolio Reading Response Reflection Response Journal Brainstorming Other: _______________

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We call each other to more truth and love. We have the right to start somewhere and continue to grow. We have the responsibility to examine what we think we know. We will not be perfect. This space will not be perfect. It will not always be what we wish it to be. But It will be our brave space together, and We will work on it side by side.” Micky ScottBey Jones (n.d.) Following the reading of the poem, have a brief discussion about what is a brave space and how the class can contribute through their action in creating and maintaining a brave space. Suggestions to discuss include: not making assumptions, attentive listening, agreeing to disagree respectfully, everyone deserving a chance to express their ideas, and informing others if they are triggers or need to take a break or pass when it comes to sharing. They class may come up with other original ideas to include. You can revisit this anytime as evolving situations arise while teaching and learning as a collective and community of learners. Think, Pair, Share with Partners (10 minutes)

Write on the board the following Iranian idiom: ‫ ﻧﺪاﻧﺴﺘﻦ ﻋﯿﺐ اﺳﺖ‬٬‫ﭘﺮﺳﯿﺪن ﻋﯿﺐ ﻧﯿﺴﺖ‬ porsidan e’yb nist, nadānestan e’yb ast Translation: “The shame is not in asking, shame is in not knowing.” Students are to reflect what it means to them and how it relates to their own lived experiences. They will then have 5 minutes to discuss it with a partner and try to connect it to a current issue or their lived experiences.

(10 minutes)

Following the think, pair, share, there will be a large group discussion sitting in the circle as a class. The following questions will be used to guide the discussion? What does the idiom refer to when it states, “the shame is not in asking, shame is not knowing?” Why are asking questions important? How can asking questions help you develop as a learner? What of questions are important? Have you been deterred from asking questions from a previous experience? How did it make you feel?

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ASSESSMENT STRATEGIES:               

Classroom Presentation Conference Essay Exhibition/Demonstration Interview Learning Log Observation Performance Task Portfolio Question and Answer (Oral) Quiz, Test, Examination Response Journal Select Response Self-Assessment Other: _______________

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What would you like to see change in your community? Who should you consult and ask questions to take action? What other proverbs and idioms they have heard and would like to share with the class? (20 minutes)

.

I Am From Poem Activity Students are provided a fillable I Am From Poem template to complete based on who they are and their family histories, cultures, and lived experiences. Read aloud 2 examples for students to become more familiar with what to expect and how to complete the activity. Students will be encouraged to have conversations with their parents, guardians, grandparents, and other community members to help them further develop and expand on their poems. Below is a website that provides the I Am From Poem template along with some exemplars: https://www.sps186.org/downloads/attachments/ 44633/Where%20I%20am%20From.pdf Template for the poem with fill in the blanks prompts:

Students will work on this independently with opportunities to share next class after further conversations with their parents and other key family members. As students are working on the task, as an educator go around and support students who may be struggling via oral conversations and prompting.

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Debriefing and Extension of the Learning: Students are to think about how they would like to share their story via current digital platforms such as Facebook, Tik Tok, Instagram, or Podcasts as an extension of the learning beyond reading it to the class. Within such platforms, what is the roll of the narrator? Who tells the story? In what ways? Who are the audience? How do stories unite people across different cultures and places?

ACCOMMODATIONS: As students are working on the task, as an educator go around and support students who may be struggling via oral conversations and prompting. Students can also write it in their home language and with help from parents and others who speak their language, the class can get it translated.

ASSESSMENT RECORDING DEVICES:     

Anecdotal Record Checklist Rating Scale Rubric Other: _______________

Students who speak their home language can work together and use Google Translate to help them.

MODIFICATIONS: For English Language Learners, you can break up the poem so they respond to less prompts, so they do not feel overwhelmed.

HOMEWORK:

TEACHER REFLECTIONS:

Homework: Students are encouraged to have conversations with their parents, guardians, grandparents, and other community members to help them further develop and expand on their poems.

Teacher should create a classroom profile to help identify the identity and culture of students so the content introduced throughout the year reflects the identities of the students and their varied lived experiences.

Students are to brainstorm how they would like to tell their story using a digital platform medium such as Instagram, Tik Tok, or Facebook.

Library session can be booked to allow students to research their family histories and learn more about their cultural traditions and practices as an extension of the learning. Sharing time can be created in upcoming classes so students learn from each other. References Jones, S. M. (n.d.) An invitation to a brave space. https://www.grossmont.edu/faculty-staff/participatorygovernance/student-success-andequity/_resources/assets/pdf/brave-space-poem.pdf “I Am From Poem” Template, (n. d.). “I Am From” poem template. https://www.sps186.org/downloads/attachments/ 44633/Where%20I%20am%20From.pdf

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References Batmanglij, N. (2020). Food of Life: Ancient Persian and Modern Iranian Cooking and Ceremonies. Mage Publishers. Battiste, M. (2013). Decolonizing Education: Nourishing the Learning Spirit. UBC Press. Cook, E. (1969). The Ordinary and the Fabulous. An Introduction to Myths, Legends and Fairy Tales for Teachers and Storytellers. The University Press. Dei, G.  J. S., & McDermott, M. (Eds.). (2019). Centering African Proverbs, Indigenous Folktales, and Cultural Stories in Curriculum: Units and Lesson Plans for Inclusive Education. Canadian Scholars Press. Eizadirad, A., & Campbell, A. (2021). Visibilizing Our Pain and Wounds as Resistance and Activist Pedagogy to Heal and Hope: Reflections of 2 Racialized Professors. Diaspora, Indigenous, and Minority Education, 15(4), 241–251. https://doi.org/10.1080/15595692.2021.1937600 Eizadirad, A., Campbell, A., & Sider, S. (2022). Counternarratives of Pain and Suffering as Critical Pedagogy: Disrupting Oppression in Educational Contexts. Routledge. Eizadirad, A., & Portelli, J. (2018). Subversion in Education: Common Misunderstandings and Myths. International Journal of Critical Pedagogy, 9(1), 53–72.

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Giacchino-Baker, R., & Baker, F.  J. (2002). Cultural Values in Thailand and Mexico: Oral Traditions, Folk Tales, and Proverbs East and West. The Cal Poly Pomona Journal of Interdisciplinary Studies, 2002, 101–112. Hadissi, K. (2010). A Socio-historical Approach to Poetic Origins of Persian Proverbs. Iranian Studies, 43(5), 599–605. Persian Online. (2007). Proverbs and Maxims. https://sites.la.utexas.edu/persian_online_resources/proverbs/ Raeisi, F. (2012). Folk Elements and Signs in the Poems of Hafez. Life Science Journal, 9(3), 883–893. Worldometer. (2022). Iran Population. https://www.worldometers.info/world-­ population/iran-­population/ Zare, M., & Zamin, R. Z. (2021). The Mythological and Epic Themes in Common Proverbs of Fars Province. Journal of Mytho-Mystic Literature, 17(65), 129–160.

PART III

Power: The Ability or Capacity to Influence Change Which Can Manifest in Different Ways Through Ideas, Individuals, or Institutions

CHAPTER 10

Pedagogies of Resistance in the Palestinian Folktales: Nus-Nsais Huda Salha

Objectives • To establish the significant role of oral culture in education. • To empower the voices of the marginalized and oppressed and help mobilize toward liberation and social justice. • To mitigate the dissemination of hegemonic colonial ideologies and raise consciousness to global injustices and colonial realities.

Identity/Positioning of Author/Entry to the Folktale My name is Huda. I was born a long time ago when entertainment for children had a different dimension and old folktales still ignited the evenings and injected our little bodies and souls with boosts of family warmth.

H. Salha (*) University of Toronto, Toronto, ON, Canada e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_10

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Television time was very limited and restricted. Unlike in today’s bedtime-­ story time, we would not be in bed when the narration started. Rather, it would be just the start of the evening, when stories—both folkloric and real-life—would flow till late at night in summer. During winter nights, we would be wrapped in blankets or gathered around a brazier filled with bright burning embers that died away as the evening and tales started to fade. The most memorable times were during power outages when the light emanating from the kerosene lamp lit our faces revealing our curious attentiveness, while the dancing flames of candles were reflecting in our eyes fixated on the narrator’s illuminated face. The narrator’s voice inflamed our imagination and took us to faraway places and distant times (Fig. 10.1). My grandmother was the best storyteller. She told stories so beautifully that we felt we were parts of the narratives. She did not always tell folktales. Sometimes she told stories of novels she had read or movies she had watched at Al-Hamra or Nabil cinemas during her youth/adult years in

Fig. 10.1  “My grandmother was the best storyteller”, Illustration, 2022. Huda Salha

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Jaffa (Yafa), Palestine. She would emulate the characters’ roles with her dreamy voice and eyes, and we would live their dreams and frustrations in her voice, eye movement and facial expressions. She mostly told stories of her home city, Yafa; of her brothers and how she snuck their magazines and novels and taught herself how to read, how she hurried to put them back before they were home, and how proud of her they were when she was finally caught. She also shared her childhood memories of the 1920s in the orange orchards and encounters of early Jewish immigrants who settled in her city and foreign-speaking children who started to appear in her neighbourhood. Although she did not know any English, she still remembered some words that she picked up from conversations among these children. She told horror stories of the 1948 forced exodus, the bombing, the massacres, the intimidating rumours that they would be next to be massacred or forced out, the abandoned babies on the way as people fled carrying what they could of elders and children. She also told stories of her life as a refugee in Gaza, their first years settling in, the tents, the new unfamiliar faces, and the line-ups for food rations and water. The tents and the new places  accommodated Palestinians coming from so many villages and towns. Everything was cruelly foreign: the dialects, the costumes, the people, the chaotic uncertainty and the homelessness. She always felt out of place. No familiar faces; the siblings, relatives and old neighbours and neighbourhoods, all scattered pieces of memory (Fig. 10.2). My grandmother’s stories made sense of the realities we were born into and connected us with our past and the conditions that formed our present. They explained why we were different from the locals of Gaza and were—and are still—ostracized and segregated by labels and services that brand us as refugees. As a child, my identity, awareness and understanding of self and existence were embedded in the word ‘refugee’. We went to different, refugee-only schools and clinics. Even my school uniform was that of a refugee. The schools—as well as most service facilities—had large signs with the words “…for Refugees” along with the UNRWA logo. At the beginning of each school year, some statistics workers would step into the classrooms with record books to verify we were all refugees. We were asked to raise our hands if we were. Then we would be asked about our places of origin. Even among us kids, we would be asking each other where everyone was from, although decades had passed since the exodus. We

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Fig. 10.2  Who Am I? Where is Home? Acrylic on Canvas, 36” × 36”, 2018. Huda Salha (This work connects to the idea and the state of unbelonging in the new spaces, away from home; the feeling of being out of place; and the permanent status and label as refugee)

were considered refugees in our own country, only about 65  km away from our home city, Yafa—in my family’s case. Our bodies were in Gaza but the active refugee status, the military occupation, my father’s obsession of listening to news, the everyday talks of neighbours and recollections of community elders when visiting my grandmother, the tales of memories of homelands and the exodus, the yearning to those who remained, and the constant presence of large keys to old homes always

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kept our thoughts, souls and minds at home, in our remote cities and villages (Salha, 2020). The stories made me in a perpetual state of longing to what seemed to be ancient time and places. I wish you never left; we’d be living there now, I often said. As if they had a choice! Would I be here today had they remained? (Fig. 10.3).

Fig. 10.3  Migrating Bodies, Acrylic on Canvas, 36” × 36”, 2017. Huda Salha (Although displaced people move to a new place with their bodies, their minds and thoughts remain in their homeland. My family and I have always felt in exile and out of place. The bodies and identities belong to their specific place where they originated, and the notion of belonging is deeply rooted in the collective national identity)

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The stories seemed to have taken place very deep in the past. I thought of the Nakba/Catastrophe and the years that followed as ancient history, even though my awareness around my constant refugee status and the live memories made me feel that it had just happened. Only now, I realize the fact that these were still fresh memories and the fact that I was born very close to an event that changed my life and the lives of my family, community and people for good, just about a few decades after the Nakba. As I write this, I also realize that I was born even much closer to the second Nakba of 1967, when the rest of Palestine, including Gaza, the West Bank and East Jerusalem, were colonized and annexed to the 1948 occupied territories. The resulting heavy military presence in Gaza added another layer to my identity and outlook: I was living under military occupation. My grandmother’s stories made more sense. Resistance, consequently, became a natural part of my being, shaping my character and view of the world. My mother, who is also related to my father, was about three years old when the 1948 Nakba took place. She and her family were forced from Yafa to the West Bank. Like my grandmother, my mother told us stories, but mostly folktales. For us, kids, storytime evenings were the most anticipated and entertaining times that we lived to remember. Those storytime evenings lasted for hours. We would be totally immersed in the stories. Afterwards, we would all have questions. The folktales would mostly end with: Tota Tota, Khelset el hadouta. Helweh wella maltouta: The tale is over; was it good or trite? If children answered with “helweh,” it meant they had had enough and were ready to go to bed. If they responded with “maltouta,” it meant they wanted another story. We would always beg our mother to “please, please tell us another story” or “tell us the story of” Nus-Nsais, Jbaineh, Luleyeh, El-Shater Hassan, and so on. Although we heard them many times before, we were still eager to hear them again and again. If we were lucky, we would be able to listen to two or three more folktales. One of my favorites was Nus-Nsais. My mother retold it so many times when we were kids. She told the story in the seventies, eighties, nighties…. Even today in 2022, in the same childish way, I still ask my mother to retell the story. The only difference is that in the past 20 years, since the new millennia, I have been asking my mother to tell it over the phone. Sometimes I record her as I fear that her memory will fail one day. I know the story by heart, but I still ask. I have not grown much, it seems. Here is the story of Nus-Nsais as narrated to me by my mother, as told by her father, who, as my mother says, used to tell seven stories at a time. ***

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Nus-Nsais Once upon a time and a place, there was a woman who was infertile. Her husband wanted children, so he married a second woman who became pregnant with twins. One day, the first wife heard a street vendor calling out: “Toffah el-jabal lalhabal!: Mountain apples for fertility!” She bought an apple and placed it on the window to eat it first thing in the morning. In the evening, her husband came home and unknowingly ate half of the apple and left the other “small” half. The woman ate the leftover piece and got pregnant. The second wife gave birth to two beautiful, perfect-­looking baby boys who were named Hassan and Hussein. The first wife gave birth to a baby so tiny that it was decided it would be fitting to call him Nus-­ Nsais (the half of a tiny half or of a quarter). As days went by, the three boys grew up. Eventually, it was time to begin hunting. Because of his physical qualities, Nus-Nsais was given a lame goat and a slingshot, while his brothers each had a horse and a rifle. Everybody made fun of Nus-­ Nsais with his goat and slingshot. Nevertheless, the brothers with the horses and rifles did not know how to hunt. They would shoot and shoot and shoot but nothing. Nus-Nsais, on the other hand, could hunt anything he wanted with his slingshot: a bird, a rabbit, a cow, a deer, you name it! At the end of the day, his stepbrothers would beat him up and take away his hunts. At home, their mother would cook the hunts, and they would eat the meat and throw the bones outside of the door of NusNsais and his mother. His mother would be very, very sad. No one would believe Nus-Nsais’ narrative of what had actually happened. One day, Nus-Nsais’ father said: “I will hide behind the olive tree and see who is hunting and who is not.” From his hiding place, he was able to see that Nus-Nsais was right. Hassan and Hussein were punished, while Nus-Nsais and his mother enjoyed the hunts. Next day, to avoid being caught again, the two siblings convinced Nus-Nsais to go hunting in a faraway place “where hunts are more abundant.” The three of them set out until they came to a faraway village. Darkness had fallen, and they were very, very tired and hungry. They saw a massive cave-like house at a distance. When they approached it, they saw the ghouleh (female ghoul) chasing after a rooster. They did not however recognize her as the ghouleh. Upon seeing them, she said: “Ahlan wa sahlan!: Welcome! Come in my little brothers, let me treat you!”

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–– “But our father never told us we had a sister,” said the three siblings. –– “Of course, you are my brothers.” Said the ghouleh. “Our father married me off when I was little. It’s just that I haven’t visited you in a long time.” And so, Hassan, Hussein and Nus-Nsais accompanied the ghouleh to her cave. She slaughtered a sheep and cooked it; and the three brothers dined. The ghouleh then made their beds so they can sleep. Nus-Nsais said: “I am not sleeping on this mattress. I can only sleep in the onion basket up there!” In the middle of the night, the ghouleh woke up and started feeling Hassan and Hussein and singing: “lakaberkom wasamenkom, w leilt El-Eid aakolkom: I’ll take care of you until you grow and become fat, so that I can eat you on Eid’s night.” Nus-Nsais heard her. In the morning, when the ghouleh left for hunting, he came down, shook his brothers and said: “Hey Hassan, Hussein, wake up! This is not our sister, it’s the ghouleh and she is planning to eat us. Let’s run away!” But the stepsiblings answered: “Go away, Nus-Nsais! This is our sister; can’t you see how nice she’s treating us? If you don’t stop, we’ll tell her what you’ve just said!” When the ghouleh came back, she slaughtered some chicken and fed the boys. Next night, Nus-Nsais saw the ghouleh sharpening her teeth and saying: “Imzhein ya snani Imzhein, la’akol Nus-Nsais, w Hassan w Hussein: Oh my teeth, get sharp and keen, so I can eat Nus-Nsais, Hassan and Hussein.” At that point, Nus-Nsais took an onion and threw it at her head. The ghouleh said “Oh Nus-Nsais, you’re still awake?!” And so every time the ghouleh approached Hassan and Hussein, Nus-Nsais would bang her head with an onion. Eventually Nus-Nsais said: “I am hungry. How can I sleep with an empty stomach? Please sister, make me some Bissara (a Palestinian dish made of dried Mulukhiyah leaves and beans). By the time the ghouleh finished making Bissara, she was too tired and fell asleep. Nus-Nsais dipped two onions in Bissara and threw them on Hassan and Hussein’s butts. In the morning, when the ghouleh felt them, she said: “EW, Hassan and Hussein pooped their pants.” Nus-Nsais said: “Dear sister, allow me to wash them in the close-by pond.” As soon as they left, Nus-Nsais told his siblings: “Get on your horses and let’s run. This is definitely the ghouleh. He set out on his goat and the two followed. When the ghouleh saw them running away, she bit her hand in remorse saying: “How did they escape my teeth!” She climbed on the top of her cave and yelled: “Hey Hassan, hey Hussein! I wish the barley your horses ate will sit in their feet so they cannot walk, and I can catch you and

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eat you; and hey Nus-Nsais! I wish the bran your goat ate will sit in its feet so it won’t walk, and I can catch you and eat you!” The horses stopped walking so Nus-Nsais commanded his brothers to sit behind him on his goat, and then he said: “Fly my bran fly!” They kept going until they arrived home. The following day, Nus-Nsais asked his family: What if I told you I’d go get you the ghouleh’s beddings? They said: “You can’t, the ghouleh will eat you!” Nus-Nsais sneaked back into the ghouleh’s town and found her beddings hanged out in the sun. He pinned them with needles all over. When the ghouleh slept at night, the needles poked her; she exclaimed: “Yamma, barageeth: Oh mother, bedbugs!” So she dumped her beddings into the valley. Nus-Nsais took the beddings to his family. Next day, he asked: “What if I told you I’d go get you the ghouleh’s chickens?” They said: “This is impossible!” In the middle of the night, Nus-Nsais sneaked into the ghouleh’s chicken coop. As he was catching chicken, the rooster started calling out at the ghouleh: “Co co coo cooo! Nus-Nsais belkhum, beyma’et w belum: Cock-a-doodle-doo! Nus Nsais is in the coop, snaps [chickens’ necks] and groups [them]!” The ghouleh said: “Roooh; enta fi blad w Nus-Nsais fi blad: Go away; you are in a country and Nus-Nsais is in another country.” But the rooster continued to call out. Then the ghouleh said: “let me go check.” Nus-Nsais pooped “shit” at the coop’s entrance. When the ghouleh came, she stepped on it and was furious at the rooster: “God damn you! Have you been calling me so I step on your poop?!” She snapped his neck then Nus-Nsais tucked the chicken in a bag and left. On the third day, Nus-Nsais said: “What if I told you I’d go get you the ghouleh herself?” They said: “You’re crazy, this time she will eat you, for sure, Nus-Nsais!” He made a wooden box, filled it with sweets, and put it on a donkey’s back and set off to the ghouleh’s town pretending to be a sweets vendor: “Halaweh, Halaweh!” The ghouleh came out to buy some sweets with five pennies. Nus-Nsais gave her a little piece. She said: “I want some more! I didn’t get enough.” Nus-Nsais said: “You have to pay a bit more.” The ghouleh gave him a gold coin. He said: “Aunt, this is a lot. I cannot sell you Halaweh with this much gold! You know what? Just get into the box and eat all you want to your heart’s content.” The ghouleh said: “I am afraid; your eyes are the eyes of Nus-Nsais!” He said: “I have never heard of Nus-Nsais, aunt.” She entered the box to eat, and Nus-Nsais locked it immediately, sealed it with nails and said:

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–– “Die in your rage, and I am Nus-Nsais!” –– “Let me out and I will give you what is in the clay pot [she means gold].” –– “Die in your rage, and I am Nus-Nsais!” –– “Let me out and I will give you what is under the stone mill.” –– “Die in your rage, and I am Nus-Nsais!” –– “Let me out and I will give you what is at the bottom of the well.” –– “Die in your rage, and I am Nus-Nsais!” –– “Let me out and I will give you the gold that is buried in the lands of so and so.” –– “Die in your rage, I am Nus-Nsais, and it’s all mine!” Nus-Nsais took the ghouleh to his village and family and he called out: “Yamin yheb Ennabi yjeeb hezmet hatab w basset nar, lanehreq halkafra bent el-kuffar: Whoever likes the prophet, gather a bunch of wood and a fire to burn this infidel, daughter of infidels!” The villagers burnt the ghouleh then went to her town, took over the ghouleh’s sheep, houses, horses, gold and everything else in her town and lands, which were previously impossible to enter. They all lived happily ever after. Tota Tota; khelset el-hadouta. Helweh wella maltouta?: The tale is over; was it good or trite? ***

Sitting/Analysis/Interpretation As in most folktales, Nus-Nsais has no known author, and the time and place are obscure. In Arabic, all folktales start with: “Kan yama kan, fi qadim ezzaman wel-Makan, kan fi…: Once upon a time and a place, there was….” This gives the theme a universal feature and adds to the mystery and weirdness of the tale. The listeners are thus disconnected from their present realities and are made to sail into a world of wonderment. They are prepared to accept the superstitious events and magical characters with superpowers that supposedly existed somewhere long ago. Although the time and place of Nus-Nsais are not specified, one can tell from the name “Nus-Nsais” that the story might have originated in Palestine and/or the surrounding region, that is the Levant. Generally, the expression Nus-Nsais is commonly used in the Levant, which

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historically included Palestine, Syria, Lebanon and Jordan prior to colonial divisions by the French and the British under the Sykes-Picot agreement, 1916 (ECF, 1970). Usually, the word is said mockingly to scorn children who do/say something too clever or conniving for their size/age. Most likely, the epithet “Nus-Nsais” was derived from the story itself. Furthermore, the mentioning of the olive tree as well as the gold coin— which was the currency in Palestine prior to British and subsequent Israeli colonization—can also be signs that it took place in Palestine. The tale of Nus-Nsais might have developed after the Israeli occupation of Palestine in 1948, and the forced exodus of most Palestinians into neighboring regions of Jordan, Lebanon and Syria, where they settled in refugee camps. It is also possible that it developed in the Levant a few decades earlier, in the aftermath of the actualization of Sykes-Picot on the ground following the San Remo Resolution, 1920 (United Nations, 1920). Among other clauses, San Remo allocated Syria and Lebanon to France, while Great Britain gained control on Jordan, Iraq and Palestine, with the latter to be handed to the Jews later on as per the Balfour Declaration of 1917 (1920). The Resolution incorporated the Balfour Declaration under which the British government had undertaken the establishment of a national home for the Jewish people in Palestine (1920; United Nations, 1917–1947). The subsequent Arab revolts in the Levant and the immense opposition to the British and French colonization—along with the impending threat of the Judaization of Palestine under the Balfour Declaration—were violently suppressed. The region suffered a great deal of colonial violence and muzzling of the colonized to put down the great upheavals as a consequence of the division and colonization of the Levant, especially with the Palestinians being forcibly uprooted from their land with enormous casualties. Hence the high symbolism and ambiguity surrounding the time and place of events in folktales like Nus-Nsais. Considering the colonial history of the Levant in general and Palestine in particular, the conditions can form a wetland for the emergence of symbolic narratives using mythical characters like Nus-Nsais and the ghouleh. The storyteller (hakawati) avoids explicit references in folktales aimed to criticize the colonial systems of power. The word “hakawati” is not used to describe the elder storyteller in the family, but is typically associated with someone who is dedicated to telling stories to a wide audience. A hakawati could be from the community, but most likely a traveller who came from a distant town, village or even a country and brought news. In this sense, oral tradition worked as a tool of knowledge production. Much

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of the information about other nations and cultures was transmitted via these travelling storytellers. Sometimes they wove this news into symbolic tales. There is no doubt that this news encompassed instances of colonial injustices and oppressions and a call for anti-colonial resistance told in a codified way. To avoid punishment and execution, storytellers disguised messages behind symbols and metaphors. Invariably, folktales depict the struggle between the good and evil, or justice and injustice. The protagonist is not a prince, but a poor and oppressed commoner, such as a lumberjack, or a disabled person, someone on whom the community depends as its savior from poverty and misery, imminent danger, an evil force, a wild beast or a tyrant. The weak and the poor always dream of wealth and power, and to defeat their oppressor. The protagonist always wins and brings justice to his beloved ones or community. Similarly, in a colonial context, Nus-Nsais is a story of power, exploitation and the fight for survivance and freedom. It symbolizes Palestinian resistance, resurgence, and their dream of return to their homes, villages and towns. Moreover, this folktale embodies the beliefs, aspirations and hopes of the poor and of the oppressed and their dreams/yearning for justice, freedom and power. The protagonist, Nus-Nsais, an ostensibly weak character and a crushed commoner, represents the oppressed, and/ or the colonized. He is the awaited hero with a miracle or unrealistic superpowers. The ghouleh, on the other hand, is the menacing and oppressive antagonist that stands for imperial and colonial power systems and exploitation. She usurps all the wealth and resources of the country, while the oppressed remain in poverty. The faraway land/town of the ghouleh, the stolen wealth, the predation of the weak, and theft of properties all symbolize the stolen homes and lands, and the looted resources, cultural heritage and archives. This still resonates today as Palestinians continue to be displaced, torn from their houses and land and banned from returning to them. Like Nus-Nsais, the Palestinians believe in their rights of return to their homelands and homes. As told by my grandmother and other Palestinian elders, they lived waiting for the occupation to end so they could return. Many of them thought they would be allowed to return after only one week, once the bombing stopped. However, they have been resisting, awaiting and dreaming for the past 74 years. The hakawati, in his active role of relating past events, hints at something that happened in the past, but its impact persists as the story is still alive through

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the oral tradition across generations—as is the Nakba and colonization of Palestine. As a child, I could not absorb the mean behavior and attitude of Nus-­ Nsais’ stepsibling and their mother. Nonetheless, I perceived Nus-Nsais as an entertaining and sometimes funny story, especially with the rhyming parts that I memorized and frequently repeated. It was not until I became an adult that I started to think critically of Nus-Nsais in terms of colonial injustices, resistance and class struggle. I came to realize that Nus-Nsais is not mere rhyming words and funny expressions/situations. Conversely, it is a praxis of storytelling, resistance and solidarity that transcends beyond the confinement of language. For Freire (1970), praxis is a combination of words and actions that cannot be dichotomized. Words and action or theory and practice must work together in order to change the conditions of the oppressed. This revelation impacted my critical thinking about the oral tradition and enhanced my practice-based/art-informed pedagogies of resistance using storytelling to revive our collective memory and combat dominant discourses aiming to push us—Palestinians—into non-existence. Nus-Nsais, in the context of the ongoing Nakba and Palestinian suffering, also gave me the drive to continue in the journey of cultural resistance rather than turning into an idle diasporic being. *** Although Nus-Nsais as an oral culture uses unrealistic elements and myths—which might generally characterize an era or place/communities/ culture overcome by myths and superstition—it reflects systemic real-life problems and cultural and sociopolitical realities that are specific to a particular culture. Nus-Nsais depicts conflicts within families using the scenario of multiple wives, the stepmother’s treatment of her stepson, the rivalries and animosity between the wives and their disruptive influence on the relationship between stepsiblings. It could have been told from a woman’s perspectives, depicting her struggles and desire for change. It could be from a man’s perspective, reflecting his yearning for harmony and stability to eliminate conflicts in his family. After all, justice for Nus-­ Nsais and his mother is achieved by a male. The story also presents some social ills, that is, discrimination between wives based on fertility/wealth. According to inherited traditions or personal preferences/beliefs, marriages that do not produce children are not valued because it is important to perpetuate the family line.

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The most relevant social issues presented in Nus-Nsais that still resonates today are stereotypes, racism and inequities based on physical characteristics, abilities and class. Nus-Nsais is labeled from the moment he was born. His unusual demeaning name reflecting his physical description stigmatizes him and sets him apart from his perfect-looking siblings who have superior status. They are granted horses and rifles, while Nus-Nsais has a lame goat and a slingshot. Moreover, his name makes him susceptible to mockery and abuse from his peers. He is bullied, taken advantage of and not taken seriously from the start. No one would believe in his abilities given his exceptionally small size and primitive tools. Both Nus-Nsais and his mother were marginalized. Another major issue highlighted in the folktale is the exploitation of the poor and the unequal distribution of wealth which leads to stark class divisions and creates hierarchies of privilege. From the above, we understand that folklore stories have direct and indirect objectives. The sociopolitical and colonial (masked) criticism represent the hidden schemes. Folktales also have educational purposes. The elders would tell the children and youth stories to teach them ethics, morals and life lessons. Through the passing down of oral narratives, children will learn about their own histories, cultural traditions and values, so as to preserve their heritage and identity generation after generation. Ostensibly, the purpose of folktales is to entertain and to perhaps provoke laughter. In the old days, before the invention of the radio and television, the hakawati would travel from town to town and country to country to tell stories to entertain the audiences. Axiomatically, unlike written accounts, a folktale changed overtime and was never told in exactly the same way. Details were altered along the way through the generations of different storytellers. The shape of each story also depended on the hakawati’s style, narrating skills, memory and/or context. Some would forget some parts, so they would tend to skip these or makeup some events to bridge the gap. Others would alter some words to heighten the humor and attract a bigger audience. Perhaps hakawatis would add more or less symbolism in accordance with the environment and the social and political climate. They might even adjust the tale to fit the acceptable values and norms of each region. This explains the variation in the one story. There are slightly different versions of Nus-Nsais. The various versions reflect the dialects of certain rural areas or cities or the background of the narrator. Normally, the hakawati would use slang/colloquial language and, at times—from observation—obscenity which may be considered as one of the characteristics of

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folklore tales being told by simple uneducated people versus intellectuals who would rather commit to proper language in their written literary productions. In Nus-Nsais, the high points of slang were when the protagonist “shits” at the coop’s entrance and when he throws the onions at his siblings’ “butts.” The funniest moment was when the husband eats half the apple. We were shocked and assumed that he would get pregnant! Scatological language was used as humor to shock and amuse the audiences. It maximized the entertainment and lightened up the lived stresses and struggles of everyday life. In other words, it was used to mask the reality. We can say that oral culture is a committed type of literary/cultural production which seeks to relieve the bitter realities of the oppressed. Generally, Palestinian folktales include rhyming sentences and sometimes short songs that mark the peaks in the narrative. In addition to the entertaining factor, rhyming makes the story memorable. We remembered the rhymes of Nus-Nsais for a long time, and we would randomly repeat them. Recently, I contacted my maternal aunt in Yafa and asked her to tell me the story of Nus-Nsais to verify some details. Funnily enough, as soon as I asked, she said “Coco coo cooo! Nus-Nsais belkhum, beyma’et w belum,” and that was all she could remember from the entire story! ***

Moral Lessons Nus-Nsais is a manifestation of the dynamic of the oppressed and the oppressor, the weak and the giant, the occupied and the occupying. It mirrors the everyday suffering and fears of people living under colonial and social oppressions. It also embodies the disparity resulting from continuous imperial exploitation and greed. The elements of magic and miracle in folktales like Nus-Nsais compensate for the feeling of helplessness in the face of the circle of injustices and the devastating power imbalance. It is only normal for the poor and oppressed to escape their oppressive realities and seek refuge in the fantasy world of folktales, to dream of freedom and live momentary victory and vengeance. The oppressed envies and dreams to replace his oppressor who owns the resources, privileges and power. That’s the native’s envy that Fanon (1961) talks about: “The native town is a hungry town… The look that the native turns on the settler’s town is a look of lust, a look of envy; it expresses his dreams of possession” (p. 39).

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The ghouleh is a recurring mythical predator in the Palestinian folktales and most likely refers to the colonizer. She is given a humanistic reference in the suggestion that she is the boys’ sister, but then dehumanized when we learn that she is about to eat these boys. This could be a metaphor for the merciless oppressors who exploit, kill and rage wars to satisfy their greed, and thus lose their humanity. The ghouleh is also present in Palestinian proverbs, such as “Yalli Bikhaf men El-Ghoul, Bietlaalo: Those who fear the ghoul, it will come for them (The ghoul will appear for those who fear it).” People usually use this proverb literally and say it for a paranoid person who worries too much or thinks too negatively. However, I argue, it has roots in a colonial context: If the oppressed are intimidated by the oppressor, they will suffer even more because the latter will exploit their weakness and practice more oppressive measures against them. This is also the core moral in the tale of Nus-Nsais, which represents the victory of the oppressed against the oppressor and gives hope to the marginalized that justice will prevail—only with hard work, fearlessness and bravery. It calls for anti-colonial, anti-oppressive resistance, to defend one’s own rights and home and urges the colonized to confront the oppressors and all systems of power, so one can exist in dignity. Nus-Nsais refused defeat and victimization. Eventually, despite the extreme power imbalance, he was able to thwart the malicious actions of the ghouleh. Being physically and financially disadvantaged did not hinder him. He employed his wits and resilience in strategic traps and tactics to overcome the challenges and was able to turn the table on the oppressor. This teaches us that with courage, perseverance and belief, we can bring down the oppressor and reappropriate the land/possessions from the colonizers. In order to confront the injustices, the oppressed need to develop strategies for resistance through mobilization, activism and empowerment which are essential for liberation. This folktale also calls on its listeners to believe in their own abilities to liberate themselves instead of waiting for the complicit or misinformed international community to do the right thing. They should resist, struggle and work for their own freedom—for liberation begins from within, from the subaltern and oppressed  (Fig. 10.4). As Freire (1970) holds: “They will not gain this liberation by chance but through the praxis of their quest for it, through their recognition of the necessity to fight for it” (p. 45).

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Fig. 10.4  From Within, Oil on Canvas, 40” × 28”, 2001. Huda Salha (A painting illustrating the theme that freedom comes from within. The oppressed should overcome their fears, resist, struggle and work toward their own liberation)

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The theme of perseverance and resistance in the face of the colonizer has been recurrent through many Palestinian folktales. This reminds me of a song I frequently heard on the radio as my grandmother followed morning programs. It is called the Children and the Wolf (https://youtu.be/ n7ANOdasqDU). In parallel to the ghouleh in Nus-Nsais, the author uses the Wolf, a ferocious predator, to symbolize the colonizer. In the song, the teacher reassures the intimidated children by telling them that “the wolf will only eat those who fear it, are you afraid?” Thus, she urges them to be brave. It reminds me of my uncle’s narrative of his last day at school in Yafa when the Nakba started. He was nine years old; the news of massacres and attacks in nearby villages had already spread. The bombing in Yafa intensified so the teacher gathered the children, gave an encouraging speech, had them sing a national song, then sent them home. He never went back, saw the teacher or any of his classmates ever again. He was suddenly uprooted and forced to go to Gaza with his family where he started a life in a tent as a refugee. Nus-Nsais teaches forgiveness, empathy and not to evaluate individuals based on their appearance. Despite his diminished size and status, Nus-­ Nsais is clever, skillful, kind and helpful. Even though Nus-Nsais and his mother are shunned and mistreated, he remains to protect his stepsiblings who threaten to tell the ghouleh about him because they are too arrogant to trust him. Likewise, the lame goat was faster than the beautiful fancy horses and contributed to the rescuing process. The siblings can be seen in terms of a power hierarchy in what Fanon (1961) and Freire (1970) refer to as the elitists of the oppressed who become oppressors, emulate the colonizer/oppressor and tend to trust and side with the powerful and not the weak like little Nus-Nsais. Nus-Nsias also thinks of the collective good and saves his country folks from the monster that poses a threat to them. Furthermore, he is a benevolent person as he did not keep the wealth that he regained but distributed it among the commoners. All this altruistic behaviour demonstrates his sense of family connection and solidarity with the community, despite his being alienated and underestimated. Such qualities are the real power that will lead to victory. As Freire points: “This, then, is the great humanistic and historical task of the oppressed: to liberate themselves and their oppressors as well… Only power that springs from the weakness of the oppressed will be sufficiently strong to free both” (p.  44). Social justice is achieved in two different episodes in the story. The first instance is when the true identity of the hunter is revealed and Nus-Nsais and his mother are able to enjoy the

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meat from his hunt. The mother, who had been saddened by the initial unfairness of the situation, feels a sense of vindication when the truth concerning her son’s heroic efforts are recognized. The other significant occurrence is the distribution of the stolen riches to the poor and the tyrant’s punishment. The morals Nus-Nsais represents might as well be theological, that is, to remind people of the codes of Islam against discrimination, as summoned by Prophet Mohammed (Peace Be Upon Him): “All humans are descended from Adam and Eve. There is no superiority of an Arab over a non-Arab, or of a non-Arab over an Arab, and no superiority of a white person over a black person or of a black person over a white person, except on the basis of personal piety and righteousness” (Afsaruddin, 2020). Nus-Nsais can be classified as a cautionary tale with hidden moral/lessons. It teaches about the consequences of evil actions and serves as a reminder that the tyrant or wrong doers do not last and will face a similar fate. The ghouleh, a symbol of unchecked powers and oppression, eventually loses everything. The tale also warns children not to trust or talk to strangers. The trusting children enter the ghouleh’s home when she beckons them, “Welcome! Come in”! It is true that this phrase might reflect the hospitality of Palestinian society as it is customary for them to invite foreigners into their homes, and offer them food, accommodation and assistance without expecting anything in return (It is considered rude to offer a return). However, this does not apply to children who are constantly warned against dealing with strangers. The story is full of tension and instills fear in young children when the boys get captured—and could have most likely be eaten—by the ghouleh. When we were young, most of the folktales narrated to us had a ghoul or ghouleh, so we came to believe they existed somewhere faraway. Whenever we played outside with other children in the neighbourhood, the rule was to be home as soon as the sun began to set: “If you stay out in the dark, the ghoul will eat you.” That is how I imagined the ghoul: (Fig. 10.5). ***

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Fig. 10.5  “That is how I imagined the ghoul,” Illustration, 2022. Huda Salha

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Education Oral culture as a form of cultural production is an important tool for decolonization in education. It is an accessible language of pedagogy that speaks at the level of the subaltern in a bottom-up approach. Conversely, written literature is more sophisticated and restricted to the educated class. Further, it may be influenced by Western education systems and ideas and serves to stifle the voices of the oppressed and to perpetuate the colonizer’s agendas/culture. Said (1993) argues in length about the strong connection between culture/literature and imperialism and the immense involvements of culture—despite “its unique endowments”—in expanding empires (p. 14). The employment of oral culture/histories as a pedagogical framework would help deconstruct imperial systems of knowing and mitigate the dissemination of colonial ideologies. Further, it could help reconstruct the image and identity of the natives—in my case, to contribute to the restitution of Palestine. Oral histories are particularly important in the Palestinian case as not much has been written about what took place in 1948 or has been deliberately obscured by the colonizing powers who are keen to maintain the absence of oral and material histories. The silencing and exclusion of Palestinian narrative is a settler colonial “logic of elimination” (Wolfe, 1999) that aims to obliterate Palestine and Palestinians from history by controlling what knowledge is produced and whose narrative is being heard. Countering the hegemonic narrative through oral tradition is an important act of cultural survivance and resistance to restore and safeguard historical facts. Indeed, most of what we know was communicated through oral histories from first-hand witnesses of families and elders. My grandmother’s narratives provided history lessons about the colonial history in Palestine, including about the Nakba and pre- and post-Nakba. These powerful narratives perpetuate the memory and counteract the twisted colonial versions of the events which depict what has happened as justified. This is why it was important to position myself in these historical narratives at the start. It is through these histories that I can begin to make sense of my environment which enhanced my sense of displacement and suspended identity that has accompanied me since then. Therefore, it is essential to mobilize cultural practices such as native storytelling and the trickster tale style as a two-sided weapon to control the narrative and combat the colonials with their tools of representation. Even 74 years later, the memories, stories, dreams and talks of return to places of origin have not faded. Palestinians continue to connect to their

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stories of absence and origin through the tradition of storytelling and cultural production, including embroidered dresses (thobes) and objects, folkloric songs, proverbs, tales and dance (Dabkeh) and traditional food. Palestinian acts of cultural production and telling signify resilience and the epic survivance of the Palestinian identity beyond the tragedy. They are instruments for resistance, refusal of victimization and submission and to protect Palestinian collective memory and cultural/national identity. Palestinian women continue to produce and wear their embroidered thobes to proclaim their stolen/demolished villages of origins. Each of the embroidered thobes has a story; it represents a village or town and symbolizes the unique characteristics of each place. Likewise, the male Dabkeh dancers hit the ground hard to emphasize their connection to land and tell stories of harvest and giving, as they sway their arms and bodies. Moreover, Palestinians are passionate and proud of their traditional dishes and breakfast consisting of Zaater (thyme), olive oil, olives—all harvested and are historically and abundantly grown on the lands and mountains of Palestine—and the unique local cheese that carry the names of towns, such as  Nabulsi (from/made in Nablus) and Akkwai (after the city of Akka/Acre) cheese. Palestinians also still hold the keys to their home as a representation of the absence. They tell stories of the Nakba via these keys which they pass down in pride to their children to continue the struggle, and for the story to snowball, for the memories to persist and for Palestine to remain. These cultural artifacts are all shared symbols that both intertwine and complement the Palestinian oral history tradition for cultural survivance. That is, to safeguard Palestinian cultural heritage, national identity and history from erasure through destruction and/or appropriation by the settler colonials (Fig. 10.6). It is vital to revive oral culture in education by introducing community elders to schools and community learning circles in order to mitigate the influence of traditional schooling embedded in Western/US dominant model. Elders hold an indispensable role in teaching morals and values to children and influencing them with their wisdom and guidance. As Dei (2000) holds, “the epistemic saliency of cultural traditions, values, belief systems and world views … are imparted to the younger generation by community elders” to challenge the Eurocentric academy (114). Moreover, community elders are the knowledge keepers and the deposits of cultural archives. However, if left unutilized and unshared, their precious knowledge is lost knowledge. It is important to analyze and read the deep meaning behind the folkloric tales and their particular contexts. This will help

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Fig. 10.6  These Are Not the Keys, Cast Bronze, Aluminum and Iron, Dimensions Variable, 2020. Huda Salha (Keys mark Palestinians’ forceful displacement from their homes in 1948. They are a symbol encapsulating the lost homes and homeland and everything left behind. Keys as artifacts are mnemonic devices connected to the displaced bodies. Consequently, keys are dominant in the Palestinian oral tradition)

participants understand their past and reclaim their history from which they were cut off by colonial teaching. Further, students can be empowered and trained to tell stories from their cultural heritage and lived experiences. Traditional storytelling that is rooted in their unique cultures will make them proud of their heritage. Further, it is key to decolonize the minds and consciousness of students and global communities and enhance their sense of awareness of historical and persisting injustices taking place in the world they are part of. In this context, adopting critical decolonizing strategies in education utilizing such powerful pedagogies of resistance can build solidarity and activism and mobilize for shifting the conditions of the less privileged. It can empower the voices of the oppressed to critique the current conditions and to question Western ideologies toward liberation and social justice. ***

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Activity Plan Targeted group: Grade 11, 12 and undergraduate students and community-based education. Duration and Number of students: Timing is based on two 2.5 hours sessions with 15 students/participants.

Subject(s): Oral Culture; Folktale; Inequities; Exploitation; Social Injustices; Power. LEARNING EXPECTATIONS:

RESOURCES/MATERIALS:

The students will first learn about the definition and concept of oral culture. At first, it will be informal learning through open discussion and brainstorming. Teachers will be mainly facilitating the discussion based on the material provided. The goal is to generate knowledge about oral culture, to immerse students in the culture of storytelling and give them the chance to learn about the goals and impact of oral culture and how it can be a tool of decolonization in education. Further, they will learn about their own cultures and will become aware of social and colonial problems in their environments and globally.

Palestinian Folktale as a Site of Resistance and Anticolonial Critical Pedagogy: Nus-Nsais.

GROUPINGS:

TIME:

TEACHING/LEARNING STRATEGIES:

9:00–9:15

9:15–9:30

9:30–10:55

Week One: Activity Description and Details: Activity One: Warm up/Orientation Activity Through open discussion, students will brainstorm about the following: A. What is oral culture? What are the genres of oral culture? What is meant by folktales? B. Can you think of examples of oral culture, including folktales, proverbs or real stories from your cultural heritage? C. Who is the elder in your home/environment? What do you learn from them? [Note for teachers: an elder does not necessarily mean an old person. An elder could be your grandfather/grandmother, your father, your mother, your brother, etc. who have knowledge and wisdom and can provide sound advice.] Activity Two: Reading and Reflection Part One: Teacher distributes copies of the story of Nus-Nsais along with the author’s introduction. Students take 15 minutes of independent silent reading then reflect on the questions listed under Part Two below: Part Two: Students will work in groups of three and discuss the following questions (10 minutes). After, students in each group will take turns to summarize one section each (two questions) of the group discussion to the entire class.

 Students working as whole class  Students working in Pairs  Students working in small groups  Students working individually

                   

Debate Oral Presentation Reader’s Theatre Role Playing Discussion Interview Literature Circles Think/Pair/Share Advance Organizer Book Talks Conferencing Guided Reading Guided Writing Independent Reading Portfolio Reading Response Reflection Response Journal Brainstorming Other:_______________

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ASSESSMENT STRATEGIES: A. Based on the reading, define a folktale in your own words.  Classroom Presentation B. Who is the protagonist? Who is the antagonist?  Conference What are the mythical figures in the story? What  Essay do they represent? Have you ever heard stories  Exhibition/Demonstration with similar characters?  Interview C. What is the role of animals in the narrative?  Learning Log How do they represent issues of social  Observation justice/discrimination?  Performance Task D. What lessons do you learn from the tale?  Portfolio E. Where in the text do you find instances of  Question and Answer (Oral)  Quiz, Test, Examination solidarity? Think of general examples of  Response Journal solidarity.  Select Response F. Connect the identity of the author to the story. In  Self-Assessment what way is the author’s identity significant in  Other: _______________ understanding the text? How does the story relate to local and global events or problems that you are aware of? Think in terms of issues of social justice and colonial realities both in Canada, the Americas and globally. Does the story resonate with you?

10:55–11:10

Activity Three: Teacher’s Facilitation and Discussion Questions Part One: The teacher will do a presentation of the ideas and discuss social and colonial aspects as depicted in the entire text and then will link it to local and global issues. Teacher facilitates discussion through the following questions:

11:10–11:30

9:00–10:15

10:15–10:45

Part Two: A. What is a cautionary tale? What are the elements? What are the purposes? Why do we tell cautionary tales to children? What are examples of cautionary tales? B. Where in the story do you see elements of a cautionary tale? C. Who is the hakawati/storyteller? How did storytellers evolve? D. What is the climax in a story? [Note:Teachers can distribute the chapter for students to read at home.] Week Two: Activity One: Part One: Presentations due: 5 minutes each Part Two: Class Discussion following presentation: Do you find similarities or overlapping with other stories, morals, cultural aspects shared by other students? Have you heard any of the stories told before? Who told it? Where?

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10:45–11:30

Activity Two: Surprise visit! A community elder is invited to have a storytelling circle. This will be followed by questions and discussion with the storyteller.

ACCOMMODATIONS: Students will be encouraged to participate through fun, open discussion, which usually attracts students especially in the context of oral culture. There is no right or wrong answers and no one is coerced into participation. Students who have any questions regarding the writing task (optional, Task 2) can ask their teacher in class to clarify.

MODIFICATIONS:

ASSESSMENT RECORDING DEVICES:     

Anecdotal Record Checklist Rating Scale Rubric Other: _______________

If some students have any challenges or are unable to participate in the class discussions, they will be encouraged to write down their reflections at home and hand these next day.

HOMEWORK:

Task 1: Presentation Share the ideas discussed above with your parents and or grandparents. Observe what this discussion will generate, what stories are being told. Keep a journal of what you learn. For in-class presentation, students will share their experiences from the home discussions. They will reflect on the following questions: – Is there a folkloric piece that was told to you during the home discussions? Would you like to share it with the class? – Discuss the morals in the stories. What are the overall learned lessons? – Did your ideas of oral culture change? What did change? – Define oral culture and compare it to your initial definition.

Optional:

Task 2: Online submission Write a story incorporating the following elements (Max. 500, 4-5 paragraphs). • • • • • • •

Place and Time: Optional. A protagonist and antagonist Explicit and hidden meanings. Humour A cautionary tale Criticizes a social, economic or political problem May discuss current life challenges or reflect a historical context.

TEACHER REFLECTIONS: (The facilitating/debriefing questions are crafted into the activities).

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•

• • •

Does not have to deal with Canadian contexts. It is preferable that the tale reflects your particular culture. You can ask your parents for help or do you own research. A climax The solution/The End/Who wins? How? Illustrations/drawings of your protagonist and antagonist.

Notes: Assignment are to be submitted online. Students receive feedback on their first draft. The final copies are resubmitted. Hard versions are shared on a board in the hallways. Depending on the available time, Task 2 outcomes can also be presented in the classroom.

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References Afsaruddin, Asma. (2020, July 6). Islam’s Anti-racist Message from the 7th Century Still Resonates Today. The Conversation. Retrieved February 16, 2022, from https://theconversation.com/islams-­anti-­racist-­message-­from-­the-­7thcentury-­still-­resonates-­today-­141575 ECF. (1970). Sykes-Picot Agreement - Retyped Text - English (1916). Retrieved March 27, 2022,from https://ecf.org.il/media_items/853 Dei, G. J. (2000). Rethinking the Role of Indigenous Knowledges in the Academy. International Journal of Inclusive Education, 4(2), 111–132. https://doi. org/10.1080/136031100284849 Fanon, F. (1961). The Wretched of the Earth. Grove Press. Freire, P. (1970). Pedagogy of the Oppressed. The Seabury Press. Said, E. (1993). Culture and Imperialism. First Vintage Books. Salha, H. (2020, May 12). After the Last Frontiers: Palestine Between Memory and the Anticolonial Art of Resistance. Retrieved April 8, 2022, from http://openresearch.ocadu.ca/id/eprint/3055/ United Nations. (1920). Syria, Mesopotamia, Palestine mandates  - San Remo Conference (UK, France, Italy, Japan)  - Resolution (Non-UN document)  Question of Palestine. United Nations. Retrieved March 27, 2022, from https://www.un.org/unispal/document/auto-insert-207297/ United Nations, Part I (1917–1947). Question of Palestine. United Nations. Retrieved November 27, 2022, from https://www.un.org/unispal/history2/ origins-and-evolution-of-the-palestine-problem/par t-i-1917-1947/ #Annex_I_8211The_Sykes-Picot_Agreement_of_16_May_1916 Wolfe, P. (1999). Settler Colonialism and the Transformation of Anthropology: The Politics and Poetics of an Ethnographic Event. Cassell.

CHAPTER 11

Nanny’s Dolly: Using Storytelling to Explore the Residential School Experience with Young Learners Jennifer M. Straub

Objectives: • To make meaningful connections between readers, what they encounter through stories, and the world around them. • To develop an awareness of the cultural impact that residential school experiences had and continue to have on family relationships and the power of resilience. Storytelling, in all its forms, serves as a rich tool for seeking justice, seeking truth, and seeking Indigenous self-determination (Brown & Strega, 2005; Corntassel, 2009; Smith, 1999). There is also a growing body of work in a number of fields examining how our prior understandings and experiences influence the way we think and act (Straub, 2020). As teacher

J. M. Straub (*) Wilfrid Laurier University, Waterloo, ON, Canada e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_11

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education programs begin to include pedagogical pathways to “engage Indigenous education with/in Faculties of Education” (Madden, 2015, p. 1), it is important that programs foster what Chinnery (2010) calls “a critical historical consciousness” where we learn from and develop the skills to attend to our relationships with the past. This is often difficult for non-Indigenous teachers and parents who occupy the position of “perfect stranger” to Indigenous people (Dion, 2007). This chapter explores the importance of using pedagogical methods that attend to Indigenous testimony. Through the lens of an inter-generational story, this chapter highlights a valuable lesson as a tool to show how one story transcends time, space, and boundaries. Finally, a formalized lesson will also supplement the residential school experience account told by one elder with pre-and post-educational activities to be used as learning resources for educators and other interested stakeholders. I am a teacher educator, mother, wife, daughter, daughter-in-law, auntie, and friend. Over the past 24 years, I have shared this particular story with students as well as my own children. It was shared with me by a “Nanny.” Nanny was not my grandmother. She is1 my husband’s Ojibwe grandmother and soon after we met, she insisted that I too, call her “Nanny.” When I interviewed Nanny for my 4th year university essay on the topic of “The Residential School Experience,” I did not understand at the time how powerful her testimony would be. I thought that she would provide a detailed account of events peppered by her experiences, hoping to fill the pages of my essay. Instead, Nanny shared but one story–one recollection–one memory. While it may not have filled the pages of an essay, it has endured and since has been transformed into a lesson that I have shared throughout my teaching career both as a classroom teacher and teacher educator. As a teacher educator, I began sharing Nanny’s story with my teacher candidates in the Bachelor of Education program as a way to springboard the dialogue about the residential school experience in Canada. In 2008, in a cohort of 40 teacher candidates at one Northern Ontario university, only 4 students had knowledge about residential schools, let alone having an understanding of the gravity of the horrors that took place. The four teacher candidates were graduates of a 4-year B.A. in History degree and were aware of some of the events but these were about them, as Indigenous 1  Although Eva Solomon moved to the spirit world in 1997, she continues to be my husband’s grandmother.

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people. They did not see residential schools and their legacy, as being part of the their own history as Canadians. I realized early on that it was purposeful and meaningful for teacher candidates to develop an understanding of Canada’s unacknowledged past in an effort to bring light and changes to the education in Ontario schools. Most teacher preparation programs in Ontario in 2008 did not require candidates to take courses on Indigenous issues and most had little understanding of Treaty Rights and provisions. In 2010, my mentor and dear friend, Dr. Nancy Maynes and I set out to write Social Studies: Innovative Approaches for Teachers as a way to shed “flood” lights on the ways that teachers could approach controversial topics and attend to important issues related to Canada’s Indigenous people in the elementary classroom. As a Métis woman, whose husband is the grandson of residential school survivors, activists, and cherished Elders, Art, and Eva Solomon,2 it has been my lifelong pursuit to help teachers develop the habits of mind to teach, but most of all, develop the willingness to tackle tough topics in ways that are age-appropriate and enduring for the future students in their care. Art once shared with me, “compulsory education is compulsory miseducation,” and this message continues to resonate today. How do you approach a topic that is so raw and traumatizing for so many? Is this even appropriate to discuss and share with elementary students? According to the National Centre for Truth and Reconciliation of Canada, For 150 years, over 150,000 First Nations, Inuit and Métis children were separated from their families and placed into residential schools. Thousands never returned. Physical, psychological, sexual, and emotional abuse were rampant. These abuses left long-standing traumas within Indigenous families and communities across Canada. The residential schools were Canada’s most direct effort to destroy Indigenous cultures. (NCTR, 2019, p. 3)

In Canada, the Truth and Reconciliation Committee’s “analysis of the Registers of Confirmed Deaths, as a November 18, 2014, indicates that at least 3213 children are reported to have died while they were students in the residential school system” (Hamilton, 2021, p.  2). “Truth and Reconciliation chairman Murray Sinclair has estimated that total deaths 2  See Freeman, J. (1998). Paying Homage to Art and Eva Solomon. The Nation Archives. http://www.nationnewsarchives.ca/article/paying-homage-to-art-and-eva-soloman-2/.

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could realistically range from 6000 to 25,000—well in excess of the 3200 deaths that the final report was able to confirm through documentary evidence” (Hopper, 2021, n.p.). The answer to the question is “with care.” As a society, we cannot ignore what happened; that was done. Many survivors have shared their accounts and were ignored. Now, we must face the reality and acknowledge the truth in ways that will ensure that these injustices never occur again. The lesson on residential schools for young learners often begins with storytelling—my own story. I share with my students that I recalled a vivid memory I had recently, while I was drinking Ginger ale: I rarely was allowed to drink soft drinks so having ginger ale was always very special. Oh! How I loved how is tasted and fizzed. Tasting the ginger ale reminded me about a time when I was a little girl… When I was a little girl, one of my most profound memories is of being sick!” Can you believe that? While for most people, this would not be a good memory, for me, it was a special time. It was a time where my father jumped in to the rescue! My mother did not have a stomach for sickness. She would joke that this was the reason that she married my Dad and also why she never became a nurse! Secretly, I think she stepped back and let my father take over this care duty in particular because in our home, our mother did almost everything else! However, when illness struck, my “super-hero-like” father would swoop down, snuggle, and offer to make flat ginger ale using the Mixmaster to take out the bubbles, in an effort to create a concoction to soothe our sore bellies. My dad would tell me that the ginger would help settle my tummy. What do you think?”

Then, I ask my students to share what it is/was like for them when they are or were sick with the flu. “What images do you think of when you recall being unwell? What do you see, feel, hear, smell, or taste?” is a question I use to prompt vivid imagery for young learners. The experiences shared by teacher candidates and young students alike often vary from caregivers who kept them home from school with complete permission to watch unlimited TV (e.g., The Price is Right!) eating Campbell’s Tomato or Chicken Noodle Soup, to stories of children with childhood illnesses in hospital. In all cases, the young students and teacher candidates that I have worked with make connections to their families, to the details of that special pillow and “stuffies,” to parents sleeping in their beds with them just in case they needed assistance during the night. They talk of being given

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the pink Bubble-gum flavored Tylenol or Gravol to soothe their hostile stomachs. These stories are the springboards to the lesson on residential schools. In order for students to learn, they need to make connections to their prior knowledge. I invite students to imagine what it would have been like for them if their “grown-ups” had not been there to take care of them when they were sick? “What do you suppose it was like for children in residential school when they didn’t have their ‘grown-ups’ to take care of them? “How do you think it made them feel?” Next, I share Nanny’s story: Nanny was about 6-years-old when she, along with her siblings were taken to the Spanish Indian Residential School that operated in Spanish, Ontario from 1913 to 1965. It was run by the Jesuit Fathers, the Daughters of the Heart of Mary religious order, and the Government of Canada (Auger, 2005). I know this because in the mid 1990’s, Nanny was in her eighties. She was a very short 125cm (4ft) something woman when wearing her high heels with a smile that could light up any room. She had agreed to be interviewed for my 4th year History paper on residential schools. Not knowing what I would do with this story, I asked her if I had permission to share. She said that she was “fine with it”. In fact, when I asked her to talk to me about her experiences she was quite open to share, but only about this story in particular. Nanny spoke of “her” very special dolly.

She explained how one of the only real memories that she had of her time in residential school was of this one “wonderful nun” who had given her a special doll while in residential school. Upon further questioning, she explained how she was given this doll to hold over three days and three nights. I found this strange and resisted interrupting her storytelling. She went on to share that the reason that she was given this “beautiful dolly” was because she had been so sick and had to be separated from the rest of the children so that she would not spread her germs to the others. The “nun” who are called “Sisters,” who are part of religious order, did not enter the room after giving her the special doll for three days and three nights. I asked her how she knew how many days she had been there, and she explained that she “counted the moons.” “The nuns” would open the door to slide her a tray of food. She did not share what was on the tray but insisted that she was given something to eat and drink over the course of her three-days-and-three-nights. I asked her how old she was when this event occurred, and she estimated that she must have been six-and-a-half

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because it was just a few months after she had arrived. She had missed not having anything special to hold and play with while away at the school, and so, having this doll was a true gift from this “kind nun.” Nanny ended the story with her having to give the doll back once she got better and she said that she “didn’t mind so much” because she knew that the other children would also get to hold the special doll if they too got sick. As a listener, it was difficult to understand how someone I loved could have experienced the horror of being separated from her family. How was she able to continue without bitterness? That was the end of the story. Nanny did not share any further details regarding her experiences. She held on to the one thing that she saw as positive. As an inexperienced interviewer, I actually said, “Nanny that was abuse!” But she calmly explained that she did not want to remember her time in residential school in a negative way. She said what allowed her to survive was seeing the good in people. That “nun” was such a “nice nun” she kept saying. She repeated this twice. I had the sense that there was much more that she could have shared, but instead she protected her memories by consciously seeing the world through a positive lens. Indigenous scholars who study the experiences of residential school survivors “have long criticized psychocentric approach to trauma” delivered by many clinical professionals (Burrage et al., 2021, p. 1) where efforts “focus largely on individual psychological harms rather than the broader effects of colonial oppression” (p. 1). In Nanny’s example, her healing perhaps was through sociocentric terms which places the importance on “healing through connection to family, culture, and community” (p. 1). Nanny taught me an important teaching that day. I learned to listen to her story the way she wanted to tell it. I learned to respect her boundaries. I learned that people’s stories are theirs and that we are privileged when someone gifts us with their perspective. It was important to me that I received explicit permission to share, which I had. I did not know at the time why or with whom I would share her story. I did not know at this time how transformational this experience would be for me as a teacher, a parent, and scholar. Because the residential school experiences transcend generations and that narratives about family history impact future generations, I also requested permission from Nanny’s daughter and my husband, her son. The impact of family narratives does not just rest with the survivor but transcends and becomes part of each member’s own history, and this must be respected.

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This story exemplifies Nanny’s resilience. She understood that when bad things happen, we acknowledge the facts, and we try and think about how others might be feeling (e.g., “others might enjoy the doll too”). I end this lesson with a reflection that my mother-in-law used to call her young daughters “Dolly.” As a grandmother or “Kohkum” as my children affectionately call her, she also refers to my daughter and her female cousins as “Dolly.” Perhaps Nanny’s experience was passed down through three generations where “Dolly” means love. I realized early on that this story is powerful for young learners as it allows them to gain a glimpse of the residential school experience from a child’s perspective. I have come to recognize how this experiential account supports the teaching of Indigenous pedagogies. Residential school experience is one saturated in trauma and grief. However, through this trauma, we can teach young learners about resilience and explain the events that occurred with honesty, care, and duty. Through the use of storytelling, we learn to apply the habits of mind needed to attend to the responsibility of bringing the Calls to Action, specifically those that attend to education to the forefront. Using stories in Indigenous cultures sustains communities, validates experiences and beliefs about how knowledge is created and understood, helps to nurture relationships, and creates the stage for the sharing of Indigenous knowledge (Iseke, 2013, p. 559). It is important that as a society we acknowledge the injustices and the colonial oppression that has taken place. Teacher education students are encouraged to explore this story through a “pedagogies for decolonizing” lens (Madden, 2015). Madden highlights Chinnery (2010) work that questions assumptions that teacher education candidates may have and guide them to shift their learning “about the past” to “from the past” (Madden, 2015, p. 6) using Indigenous testimony and counter-narratives “largely through literature and some work with Elders and residential school survivors” (p. 6). Teacher education candidates have the opportunity to question taken-for-granted understandings of themselves and their world and encourage accountability for “the ethical demands the past makes on us here and now (Chinnery, 2010, p. 398). The importance of fostering a “critical historical consciousness” as an approach to learning from and attending to our relationships with the past through storytelling is necessary if we are to support the development of teachers committed to Truth and Reconciliation. Embedded cultural values and life lessons from this particular experience as told by one survivor is deconstructed as a means of centering the

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significance of oral traditions and how teachers can apply pedagogical methods that respect Indigenous education. At the core, this chapter explored the interconnectedness between culture, family traditions, and way of sharing historical events that are respectful; respectful to both the memory of those who shared their personal stories and respectful to the children in our care who need to understand the truth in age-­ appropriate ways. Objectives/Meaning/Take Away Message: Young learners will make meaningful connections between themselves, what they encounter through stories and the world around them. They will develop an understanding that all stories have a particular point of view that must be recognized, questioned, assessed, and evaluated (Ontario Ministry of Education, 2006, p. 4). Through Nanny’s story, they will develop an awareness of the cultural impact that residential school experiences had on family relationships and the power of resilience. One of the objectives of the lesson is for young learners to “develop the social-emotional learning skills needed to foster overall health and well-being, positive mental health, and the ability to learn, build resilience, and thrive” (Ontario Ministry of Education, 2019, p. 6). According to Wilson (2021), “every time you build a relationship you become accountable for it. Relationships ARE our reality” (Wilson, 2021, personal communication). For young learners, it is important that they recognize the important relationships of those around them that care for them on a daily basis. It is important for learners to explore the concept of 7 generations thinking. The ancient Haudenosaunee or Iroquois subscribed to the philosophy that any decision we make today should consider 7 generations into the future (Haudenosaunee Confederacy, 2021). In many Indigenous cultures, there is also an emphasis of one’s true identity being forged only when we better understand the past of three generations before us and three generations into the future; we are at the centre. Healthy communities and heathy relationships occur when we value those before us and those that will come after us. Introduction: Before teaching any lesson, teachers should follow the principle as highlighted in the Ontario curriculum: first, do no harm and ensure that the learning environment is always physically and emotionally safe. Because of the unique learning environment, …teachers often find themselves in the role of caring adult for students…It is important for educators to know and follow policies and guidelines regarding confidentiality and risk management and be aware of

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professional boundaries and of pathways to professional care. (Ontario Ministry of Education, 2019, p. 14)

Because this lesson introduces concepts that could cause stress for some students, it is important that teachers are aware of the contexts in which they teach. For example, if a child has recently experienced the loss of a parent, hearing about Nanny’s story may trigger feelings of insecurity and grief. “A well-rounded educational experience prioritizes social-emotional learning, physical and mental health, and inclusion together with academic success for all students. Parents, community partners, and educators all have critical roles in achieving this” (Ontario Ministry of Education, 2019, p. 14). Teachers must recognize that “parents are the primary educators of their children with respect to learning about values, appropriate behaviour, and ethnocultural, spiritual, and personal beliefs and traditions, and they are their children’s first role models. It is therefore important for schools and parents to work together to ensure that home and school provide a mutually supportive framework for young people’s education” (Ontario Ministry of Education, 2019, p. 14). If a child shares their feelings about loss, fear of loss, or shares expressions of anxiety toward a new situation, it is important that parents listen and acknowledge the feelings. In some cases, talking to a professional therapist can assist children to process their feelings. Agencies such as Kids Help Phone offer confidential counselling to children and youth. Keeping parents informed about any lessons or topics that could be sensitive for some students like those attending to the residential school experience allows parents to be partners in their child’s education. Again, by informing parents prior to the lesson, information may be shared to better inform the context for their child’s learning and better inform the teaching. According to Indigenous educator Diane Hill, “there are four elements involved in the learning process cycle: to see, to feel, to know, and to do” (Alberta Education, 2005, p. 38). In this lesson, young learners in middle school are invited to share what they see as they listen to the teacher’s story and Nanny’s story and how these experiences are similar or different from their own. They are invited to share how each story made them feel. They are invited to share what the residential school experience might have been like for the children who attended school far away from their homes, from their parents, and extended family.

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Classroom Activities to Support Post-lesson Students in elementary grades are invited to complete any of the following activities: Primary Grades (1–3) • Draw a picture of their important circle of grown-ups. Children are encouraged to show all of the special people that they spend the most time with and include members who may not be with them everyday. (e.g., people we might be missing); Yes, they can include their pets! • Complete a journal entry about their special “doll” or “stuffy” and why it is special to them. Have them illustrate how their comfort item/toy makes them feel secure. Early Junior (Grades 3–4) Students are invited to • Draw a picture of what the three-days-and-three-nights might have been like for “Nanny”; • Write a letter to their own caregivers/”grown-ups” about gratitude; “Be sure to share examples of how they show their love for you”; • Write a letter to “Nanny” as a little girl or as a grandmother. What message would you want to say? What message would you give? • Make a card for a stranger who is grieving the loss of a loved one so that they know that someone out there is caring about them. Deliver the cards to a seniors’ residence or local service group where they could share the card with someone who needs it! • Children sometimes face obstacles that may take them away from their loved ones—hopefully temporarily (e.g., illness in hospital where they must spend overnight, Covid-19 protocols for international travel preventing family re-unification, a move to another city or home). Have them share in their journal an experience where they were missing a loved one and describe some of the strategies they used to overcome any feelings of sadness.

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Late Junior (Grades 5–6) • Explore how Canada’s government is attending to the Calls to Action by evaluating evidence and drawing conclusions about perspectives on the historical and/or contemporary experience of First Nations, Métis, and/or Inuit communities, in Canada (Ontario, 2018).

Conclusion For many non-Indigenous teachers and parents, the responsibility to teach about the residential school experience and/or some of the current issues facing First Nations people can no longer be ignored. Some educators have expressed that they avoid this topic for fear that they do not have the authority to teach about another culture. Many have shared with me that they do not feel comfortable with the topic and feel that they do not have the knowledge and competencies to teach about events linked to residential schools. Like many other subjects that generalist teachers are required to teach, it is important that non-Indigenous teachers and Indigenous teachers alike learn the facts from credible sources and discover various perspectives associated with the concepts that they are required to teach. It is important to reach out to experts in the field either through your own research or through guidance from someone who is experienced and knowledgeable to guide your professional development. As teachers and parents, we have a responsibility to ensure that our students and children have experience with varied credible sources and learn to think critically about issues, even those that are controversial, in an effort to teach them to be critical consumers of information and develop the habits of mind to be well-informed citizens. As a Métis teacher educator, I share with them how important it is that everyone acknowledges their responsibility to attend to the facts of what took place in residential schools, “the Sixties Scoop,” the inequities in education, and injustices that continue to face our First Nations people. Without first acknowledging what took place and is taking place, we cannot expect our nation to collectively heal from the past and present traumas. Teachers and parents have a vital role to play in paving the way for true reconciliation…and Nanny’s story with young learners is but a start.

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Activity Plan Subject(s): Using Storytelling to Explore the Residential School Experience: Writing a Letter LEARNING EXPECTATIONS: Elementary Students will:

• • •

gather information to support ideas for writing and will write short texts (e.g., a friendly letter); establish a personal voice in their writing, with a focus on using familiar words that convey their attitude or feeling towards the residential school experience; and produce revised, draft pieces of writing to meet criteria identified by the teacher, based on the expectations.

Middle School Students will:

• • •

identify a topic that relates to the residential school experience (e.g., being away from home, relocation, human rights); assess the impact that residential schools had on First Nations communities; and generate ideas about this challenging topic and identify those that are most appropriate for the purpose.

TIME: Activity Description and Details: Students are asked to write a letter to ‘Nanny’ as a little girl, or as a grandmother. What message would you want to say? What message would you give? Elementary Learners: In this activity, students are learning to establish their personal voice to convey their attitude or feelings about Nanny’s residential school experience. It is important for students to focus on words that convey admiration for Nanny courage, strength, and resilience. Middle School Learners: In this activity students are invited to do some research on the impact that residential schools had and continue to have on residential school survivors. They are asked to identify some of the steps stakeholders are taking to assist with reconciliation. They are asked to share these in their letter to ‘Nanny’. .

Using Storytelling to Explore the Residential School Experience The lesson on residential schools for young learners begins with the author’s storytelling and moves through ‘Nanny’s Story’ of her residential experience. In the reading, teachers will be prompted to ask some questions to guide the learning.

RESOURCES/MATERIALS:  paper/pencil  computer

GROUPINGS:

 Students working as whole X

class Students working in Pairs

 Students working in small

groups X Students working individually

TEACHING/LEARNING STRATEGIES:

Debate Oral Presentation Reader’s Theatre Role Playing Discussion Interview Literature Circles Think/Pair/Share Advance Organizer Book Talks Conferencing Guided Reading Guided Writing Independent Reading Portfolio Reading Response X Reflection  Response Journal X Brainstorming X Other: listening

               

I absolutely love drinking Ginger ale! Each time I have a drink of this golden treat, a vivid memory comes to life! I rarely was allowed to drink soft drinks so having ginger ale was always very special. Oh! How I loved how is tasted and fizzed. Tasting the ginger ale ASSESSMENT STRATEGIES: reminded me about a time when I was a little girl… When I was a little girl, one of my most  Classroom Presentation profound memories is of being sick!” Can you believe that? While for most people, this would  Conference not be a good memory, for me, it was a special time. It was a time where my father jumped in  Essay to the rescue! My mother did not have a stomach for sickness. She would joke that this was  Exhibition/Demonstration the reason that she married my dad and why she never became a nurse! Secretly, I think she  Interview  Learning Log stepped back and let my father take over this care duty because in our home, our mother did  Observation almost everything else! However, when illness struck, my “super-hero-like” father would X Performance Task swoop down, snuggle, and offer to make flat ginger ale using the Mixmaster to take out the  Portfolio

11  NANNY’S DOLLY: USING STORYTELLING TO EXPLORE…  bubbles, to create a concoction to soothe our sore bellies. My dad would tell me that the ginger would help settle my tummy. Teacher Prompts: • What do you think the author was feeling during this part of the story? • What it is/was like for you when you are or were sick with the flu? • What images do you think of when you recall being unwell? What do you see, feel, hear, smell, or taste? • I would like you to imagine what it would have been like for you if your “grown-ups” had not been there to take care of you when you were sick? What do you suppose it was like for children in residential school when they didn’t have their “grown-ups” to take care of them? • How do you think it made them feel? Remember to allow for students to have time to reflect. Take a few moments and have students complete the reflection before continuing with the story. Next, share Nanny’s story: Nanny was about 6-years-old when she, along with her siblings were taken to the Spanish Indian Residential School that operated in Spanish, Ontario from 1913 to 1965. It was run by the Jesuit Fathers, the Daughters of the Heart of Mary religious order, and the Government of Canada (Auger, 2005). I know this because in the mid 1990’s, Nanny was in her eighties. She was a very short 125cm (4ft) something woman when wearing her high heels with a smile that could light up any room. She had agreed to be interviewed for my 4th year History paper on residential schools. Not knowing what I would do with this story, I asked her if I had permission to share. She said that she was “fine with it”. In fact, when I asked her to talk to me about her experiences, she was quite open to share, but only about this story. Nanny spoke of “her” very special dolly. She explained how one of the only real memories that she had of her time in residential school was of this one “wonderful nun” who had given her a special doll while in residential school. Upon further questioning, she explained how she was given this doll to hold over three days and three nights. I found this strange and resisted interrupting her storytelling. She went on to share that the reason that she was given this “beautiful dolly” was because she had been so sick and had to be separated from the rest of the children so that she would not spread her germs to the others. The “nun” who are called “Sisters” who are part of religious order, did not enter the room after giving her the special doll for three days and three nights. I asked her how she knew how many days she had been there, and she explained that she “counted the moons”. “The nuns” would open the door to slide her a tray of food. She did not share what was on the tray but insisted that she was given something to eat and drink over the course of her three-days-and-three-nights. I asked her how old she was when this event occurred, and she estimated that she must have been six-and-a-half because it was just a few months after she had arrived. She had missed not having anything special to hold and play with while away at the school and so, having this doll was a true gift from this “kind nun”. Nanny ended the story with her having to give the doll back once she got better and she said that she “didn’t mind so much” because she knew that the other children would also get to hold the special doll if they too got sick. Teacher Prompts: • What do you think it was like for Nanny in this situation? • If you could talk to Nanny as a 6-year-old, what would you want to say? • What would like to say to Nanny as a grandmother?

     

205

Question and Answer (Oral) Quiz, Test, Examination Response Journal Select Response Self-Assessment Other: _______________

Success Criteria: • Does my letter clearly convey my message to Nanny?

• •

Do I give examples of Nanny’s point of view?

Do I give examples of my own point of view?

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Elementary Learners: At the end of this reading, students might be asked to create a friendly letter to Nanny sharing they heard her story about her residential school experience. They are encouraged to establish their personal voice to convey their attitude or feelings about Nanny’s experience. It is important for students to focus on words that convey admiration for Nanny courage, strength, and resilience. Before students beginning writing the letter: As a class brainstorm the feelings that Nanny might have had during her experience. Next, invite students to select 3 feelings that they would like to talk about. If the student highlights “scared” then ask them to add this to their letter. For example, “Dear Nanny, I know that you might have been scared in your residential school because_________. I know I would have been.” Next, have students brainstorm words that define courage and resilience and invite students to describe her strength and give examples from the story. “You were very unselfish when you said that you wanted others to share the doll.” Finally, brainstorm their attitudes and feelings about the residential school experience. Students may write: “I think it was not right that you were not with your parents. I love my parents and they always take care of me when I am sick. You should have had your parents with you. Encourage students to share their feelings. Have students end their letters with a salutation.

Share the Teaching Prompts as a reminder of what good writers do! (Overview of Effective

Instruction in Writing p. 1.19)

http://www.eworkshop.on.ca/edu/resources/guides/Guide_Writing_%20K_3.pdf

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(See Education, O. (2005). A guide to effective instruction in writing, kindergarten to grade 3.)

Option for Middle School Learners: In this activity students are invited to do some research on the impact that residential schools had and continue to have on residential schools had and continue to have on residential school survivors.They are asked to identify some of the steps stakeholders are taking to assist with reconciliation. They are asked to share these findings along with their understanding of their perspectives in their letter to ‘Nanny’.

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ACCOMMODATIONS: Young learners: Some students may need to have their worked scribed for them or have their “letter to Nanny” shared through an oral sharing. Some students may require assistance with using familiar words and phrases to communicate relevant details. MODIFICATIONS:

Elementary Learners: Some students may need to draw a picture that they would like to give to Nanny.

ASSESSMENT RECORDING DEVICES:  Anecdotal Record  Checklist  Rating Scale X Rubric

 Other: _______________

Middle School Learners: May need to provide some of the research for the student (e.g., newspaper article, short readings) to use to support the letter. You may need to provide a written copy for students to reference during the writing activity.

HOMEWORK:

TEACHER REFLECTIONS:

Students should edit and revise their letters and provide the teacher with a good copy.

References Alberta Education. (2005). Our Words, Our Ways: Teaching First Nations, Métis and Inuit Learners. Alberta Education. Auger, D. J. (2005). Indian Residential Schools in Ontario. Nishnawbe Aski Nation. Brown, L., & Strega, S. (Eds.). (2005). Research as Resistance: Critical, Indigenous and Anti-oppressive Approaches. Canadian Scholars’ Press. Burrage, R.  L., Momper, S.  L., & Gone, J.  P. (2021). Beyond Trauma: Decolonizing Understandings of Loss and Healing in the Indian Residential School System of Canada. Journal of Social Issues. Chinnery, A. (2010). What Good Does All this Remembering Do, Anyway? On Historical Consciousness and the Responsibility of Memory. In G. Biesta (Ed.), Philosophy of Education (pp. 397–405). Philosophy of Education Society. Corntassel, J. (2009). Indigenous Storytelling, Truth-telling, and Community Approaches to Reconciliation. English Studies in Canada, 35(1), 137–159. Dion, S. D. (2007). Disrupting Molded Images: Identities, Responsibilities, and Relationships Teachers and Indigenous Subject Material. Teaching Education, 18(4), 329–342.

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Gervais, R. (Personal Communication, 1983). Hamilton, S. (2021). Where are the Children Buried? Higher Education Learners. Alberta Education. Haudenosaunee Confederacy. (2021, June 9). Values. Retrieved April 1, 2022, from https://www.haudenosauneeconfederacy.com/values/ Hopper, T. (2021, July 13). How Canada Forgot About more than 1,308 Graves at Former Residential Schools. Nationalpost. Retrieved April 1, 2022, from https://nationalpost.com/news/canada/how-­canada-­forgot-­about-­more-­ than-­1308-­graves-­at-­former-­residential-­schools Iseke, J. (2013). Indigenous Storytelling as Research. International Review of Qualitative Research, 6(4), 559–577. https://doi.org/10.1525/ irqr.2013.6.4.559 Madden, B. (2015). Pedagogical Pathways for Indigenous Education with/in Teacher Education. Teaching and Teacher Education, 51, 1–15. NCTR. (2019). Reports. Retrieved April 1, 2022, from https://nctr.ca/ records/reports/ Ontario Ministry of Education. (2006). The Ontario Curriculum, Grades 1–8: Language. Ontario Ministry of Education. Ontario Ministry of Education. (2018). The Ontario Curriculum, Grades 1–8: Social Studies. Ontario Ministry of Education. Ontario Ministry of Education. (2019). The Ontario Curriculum, Grades 1–8: Health and Physical Education. Ontario Ministry of Education. Smith, L. H. (1999). Decolonizing Methodologies: Research and Indigenous Peoples. Zed Books. Solomon, A. (Personal Communication, March 1996a). Solomon, E. (Personal Communication, March 1996b). Straub, J. (2020). Pre-service Teachers’ Understanding of Citizenship. Doctoral dissertation, University of New Brunswick. https://unbscholar.lib.unb.ca/islandora/object/unbscholar%3A10138/datastream/PDF/view Wilson, S. (2021, October 20). Building Relationships with Indigenous Knowledge. The Charles R. Bronfman Lecture in Canadian Studies. University of Ottawa.

CHAPTER 12

Remembering a Goan Folktale in the Midst of a Global Pandemic Kimberly L. Todd

Objectives There are three objectives I have for you reader that I hope you walk away with after reading this chapter. The first objective is to seek out your own ancestral wisdom no matter how daunting the task may be. I believe in seeking, you shall find the ancestral wisdom that will enrich not only yourself but others as well. My second objective is to remember love, courage, and hope in the face of adversity. In these troubled times it is important to seek out the good in one another, to hold fast to those we love, and to be courageous in the face of fear. Moreover, to remain hopeful as the two sisters do in this Goan Folktale. My third objective is that we love this Earth and the natural world around us. That we honour living beings and begin moving away from Anthropocentric ways of being and towards a paradigm shift where we can begin treating our planet with dignity, respect, and reciprocity.

K. L. Todd (*) University of Toronto, Toronto, ON, Canada © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_12

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Locating the Self as Author My doctoral work is on the intersections of dreaming, decolonization, and teacher praxis. As a graduate student at the University of Toronto, I had read and heard so many beautiful stories that took many different shapes and forms such as dream accounts, mythologies, and personal stories that inspired me. I spent the past two years teaching part time at a college where storytelling was part of my pedagogical practice. I loved hearing the stories of my students and sharing mine as well. As humans, stories are one of the ways we learn best of all. I had so many stories to share, but none that spoke to my own ancestry that could be traced back through the generations. As a cis gendered settler on Turtle Island and as someone who is part of the Goan diaspora, tracing my origins through the many geographical moves across countries and continents has deeply complicated my own access to my ancestry. More specifically, colonization has complicated access to my ancestry and this barrier to my own origins felt insurmountable. When reading the description for the call out for the book I was initially saddened at the thought that I had no proverbs, idioms, or folklores to contribute to this anthology. This made me feel crestfallen because the power of oral culture has always enraptured me. I spent most of my childhood by my Nana’s side: Olga Todd née Nunes (my paternal grandmother). She would spend hours everyday telling and re-telling me stories from her life. Moreover, as a dreamworker, dreams are often recounted to me orally and so the unveiling, decoding, and re-­ telling of dreams also partake and contribute to oral culture. So, the call out for this book in many ways reminded me of my deeply colonized roots and once again I felt despair at what I had lost even before my birth. In essence, I was ready to give up the search for my roots without even trying. In its own way, this speaks to the internalization of colonization and how it hinders us from our own healing, before we have even begun. But perhaps this is a story for another day. However, there was a feeling that began in the centre of my chest, a longing coupled with an insistent desire and a touch of knowing. It was a subtle feeling, but it was there. This feeling inside me told me to ask my mother for a proverb, idiom, or folktale. My mother growing up in a Goan household in the booming city of Karachi was bound to be able to have an

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idiom, proverb, or even a folktale for me. Initially, my mom spouted a bunch of idioms that I was quite sure were of British origin. I was frustrated at this and tried my best to keep the defeat at bay. I insisted and I pressed her to dig deeper. After some reflection, she had a vague recollection of a folktale her grandmother Lizzie Pinto née Baptista used to tell her. She recalled the name ‘Attulem and Bittulem’ the story of two brave sisters. This turned out to be an exercise in deep remembering, as my mother hung up the phone with me and began to call her many sisters. She called me back a couple days later and began to piece together fragments from her sisters of a story. My mom said she recalled a lion in the story. My Aunty Lilian and my Aunty Veronica remembered that two sisters were at the heart of the folktale. Some of them recalled the main characters being called Attulay and Bittulay. My Aunty Denise said that a particular dessert Goreshai (a Goan Halvaa) was in the story and also remembered chickens and a fox. My Aunty Lilian googled the story as did I, as a desire to remember this story spread like wildfire throughout the family. So, this is how in the middle of a global pandemic (Covid 19) a Goan folktale was resurrected, a folktale that had been passed down to my mom and her sisters and brother as children and that evoked themes of love and courage in the face of adversity. A folktale that has immense value for our current predicament. The words of their grandmother collectively conjured, held, and reconstituted for a new re-telling of an age-old tale with some additional help from Google.

Re-Telling A Goan Folklore (India) My mom said she was five or six years old when she heard this story. She remembers sitting near her grandmother’s feet in the living room by a large window. The light of day fading quickly, she sat on a beige carpet, amidst a sea of white-and-black tiles as her grandmother rocked in a rocking chair and unfurled the folktale from memory. In my mom’s imagination, the two sisters Attulem and Bittulem were in fact little lions and not human girls at all. These continual shifts in narrative, characters, and plot mimic the brilliance of oral storytelling and its living wisdom and effervescent shapeshifting. The imagination of the listener dances co-creatively with the words of the story teller. Moreover, an oral storyteller often knows the listener well. They have a sense of what the listener is seeking, whether it be a life lesson, some entertainment, or a bit of healing. This would have been true for my great grandmother as she told many

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variations of this story to her many grandchildren. In an effort to tell a more complete story, I am relying on an account from a blog entitled ‘Placido Ponders’ by blogger Placido De Souza (2012). Furthermore, this folktale from the blog is based off of a book entitled “Folk Tales of Goa” by Arthur Francis ‘Meurin’ Santos (1970). I have relied on these two versions, but a third place I have located this folktale is a blog called “Adi’s World” (Bull, 2015). In the account below, I have also added in some of the changes my aunts remembered from having heard the story as children, in addition to my own flare for storytelling. This folktale is the story of two orphaned sisters named Attulem and Bittulem (De Souza, 2012; Santos, 1970). Attulem and Bittulem were two sisters who were very close, and they were adored by almost all the animals of the forest (De Souza, 2012; Santos, 1970). They did everything together and hated to be parted from each other (De Souza, 2012, Santos, 1970). Attulem and Bittulem lived in a small but modest home that abutted a lush and green forest (De Souza, 2012; Santos, 1970). One day, the sisters decided to make Goreshai (a Goan Halvaa dessert). A tiger was passing by the sister’s home where the dessert was being made (De Souza, 2012; Santos, 1970). This tiger smelled the delicious Goreshai, it tickled his large nose, and made his mouth water as big droplets of saliva dripped on the ground around him (De Souza, 2012; Santos, 1970). This tiger had a name and he was called Vag Mam, and when Vag Mam wanted something, he usually got his way (De Souza, 2012; Santos, 1970). The two sisters heard the tiger roar in anticipation and immediately they hid in two large brown jars that were sitting side by side (De Souza, 2012; Santos, 1970). The tiger devoured the delicious Goreshai in one full sweep and licked his mouth and paws clean (De Souza, 2012; Santos, 1970). But the Vag Mam tiger was still hungry, his tummy rumbled as he quickly looked around for more food to eat (De Souza, 2012; Santos, 1970). The dessert had merely wet his appetite. So, he spotted one of the jars and he decided to carry it home on his large back hoping for a delicious treat inside (De Souza, 2012; Santos, 1970). However, Attulem was hiding in that very jar and her body seized with fright (De Souza, 2012; Santos, 1970). Bittulem’s heart wept at the thought of being separated from her beloved sister and so in a daring and courageous move, she leapt from her own jar into the jar of Attulem (De Souza, 2012; Santos, 1970). The two sisters lay squished up against each other (De Souza, 2012; Santos, 1970), but some of the chickpea flour that was left over in the jar began to tickle Bittulem’s nose. The urge to sneeze got bigger and bigger,

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as Attulem pleaded with Bittulem to hold it in (De Souza, 2012, Santos, 1970). But alas, Bittulem let out a giant sneeze, followed by Attulem (De Souza, 2012, Santos, 1970). The force of the sneeze instantly shattered the jar, and the fragments began to rain down on Vag Mam tiger, injuring him (De Souza, 2012, Santos, 1970). The villagers heard the shattering of the jar and immediately came to the aid of the two sisters (De Souza, 2012, Santos, 1970). The two sisters were returned to the safety of their home, and Vag Mam tiger decided to stay far away from that little home near the edge of the forest (De Souza, 2012, Santos, 1970). The end, or is it?

Objective and Meaning Power/Empowerment in Midst of a Pandemic After talking to my mom about this story, she said that the most important themes in the story were the bonds of love that the sisters had for each other and the courage they had in the face of adversity. I also think the theme of hope is another valuable component found in the ending of the story. For me, this Goan folklore was re-discovered in the middle of this pandemic at a rather perfect time. I had already been in  lockdown in Toronto for over a month-and-a- half, like much of the world, and the isolation was seeping in. Little did I know this was only to be the beginning. Love and courage in the midst of a global pandemic, that is taking the lives hundreds of thousands of people, remains to be a powerful message. As I write this, the Covid 19 numbers are ever increasing as we look to an upcoming third wave in Canada. However, this folktale that has been passed down generationally speaks of the bonds of family love, the need to face adversity together and to be courageous, even if that means sitting in a jar on the back of a tiger. Are we so different from these famous sisters Attulem and Bittulem? We are sheltered in place, while climate change is upon us and Covid 19 spreads at a rapid pace. Our containers are different, we are not in large jars, but still some of us are squished up against each other, others longing for a companion or friend to shelter in place with, but perhaps our feelings of claustrophobia are not so different. While others do not even have a place in which to shelter in. Our Vag Mam tiger is Covid19 or even climate change, and we do not know for how long we will be traveling down this road. We, like the sisters cannot see the road

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ahead, we can only feel the ups and downs of the road, the bumps, and the dips and our fears of death, as we attempt to live our new normal. Yet the value of love and courage remain, and like these two sisters, we as a human family are in this global pandemic together, but dealing with vastly different circumstances which are markers of power and privilege. Yet remembering our love for each other and this beautiful Earth we inhabit is necessary to help us through. Hope is also another theme inherent in this folktale, because Attulem and Bittulem’s story at the beginning seems absolutely hopeless. Courage to face difficulties and adversity will hopefully help us all to cope with the unprecedented challenges we encounter and perhaps even the courage to imagine a different world than the one we are currently living in. Hope that perhaps, like Attulem and Bittulem, we can find a way out of our current predicaments, together, collectively, and in new transformative ways. This old Goan Folklore that my great grandmother used to tell is valuable for all of us because we can all use some love, courage, and hope in these times. Why This Folktale Matters Across Time and Space It is important that we return to the Goan Folktale of Attulem and Bittulem. The heartwarming story of the two sisters calls us to delve into some follow-up questions to push along a trajectory of growth and learning in ourselves and others. Spend some time reflecting on these questions. Follow-Up Questions 1. Attulem and Bittulem do something unexpected that is the key to their escape; they sneeze. What unexpected events have happened in this global pandemic that have provided you with hope for our collective future? 2. After having read this folktalke, what is the role of Oral Culture in helping to empower communities to rise above adversity? 3. Attulem and Bittulem live very close to forest, perhaps too close. What dangers arise when humanity continues to destroy the natural habitats of animals, such as the beautiful tiger, and encroaches on their habitats? What dangers arise when we live so close to wildlife

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and fail to respect it? How can this story be read as a cautionary tale in light of the pandemic and our continual destruction of the natural world?

Attulem and Bittulem: A Cautionary Tale for Our Time It is this last question, question 3 that I wish to explore in greater detail. The Goan Folktale of Attulem and Bittulem reminds us of our collective responsibility to respect the natural world. Attulem and Bittulem live far too close to the forest and what transpires is an interaction with an animal that has dire consequences. We can extrapolate this to our current circumstances, because humans have been encroaching on habitats and ecosystems with deadly consequences. These consequences have brought us to a place where our encroachment on habitats has made us more susceptible to disease (Tollefson, 2020). Tollefson (2020) writes the following in an article entitled ‘Why deforestation and extinctions make pandemics more likely’: Previous research has shown that outbreaks of diseases such as severe acute respiratory syndrome (SARS) and bird influenza that cross over from animals to humans have increased in the past few decades. This phenomenon is likely to be the direct result of increased contact between humans, wildlife and livestock, as people move into undeveloped areas. These interactions happen more frequently on the frontier of human expansion because of changes to the natural landscape and increased encounters with animals. (p.176)

Our relationship to our natural world is one of profound importance and like all relationships that are healthy and thriving, they require respect, reciprocity, boundaries, and love built into them. In this folktale, the two sisters make a mistake in failing to acknowledge that their encroachment on the forest disrupts a boundary. It is not a physical boundary, it is not demarcated by a wall or a fence, but it is demarcated by the lush and beautiful vegetation that signals a transition from human realm to the lush forest inhabited by a variety of species; flora and fauna alike. Respect is tantamount in terms of honouring ourselves and all living creatures, and these two sisters unwittingly crossed a boundary and almost paid with their lives. This is not so different from what we have done as a collective

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in terms of our continual and unending need for more, be it greed, land, or resource extraction  (McQuade, 2019). Maskalyk and Courchene (2020) write the following in their opinion piece entitled ‘The real cure for COVID is renewing our fractured relationship with the planet’: A lack of healthy, natural habitat weakens the immune systems of animals and the resulting sicknesses pass rapidly through them. Birds, prairie dogs, pigs, bats. With each infection, a chance of a virus to mutate into one that can sicken humans, and sometimes, global livelihoods. As such, a vaccine alone, no matter how effective, will not tip the balance toward health because COVID-19 is not a disease; it is a symptom of an exhausted planet. The renewal of a healthy relationship to our one shared mother, planet Earth, is the cure. (p.1)

Healthy boundaries with the natural world entail not taking more than we need, respecting the land’s ability to regenerate and giving time and space for that, respecting diversity and not seeing the Earth as only a resource to be used and abused for human benefit. In this chapter, there is a call to return to Indigenous wisdom and Indigenous land management as means by which to begin righting our relationships (Maskalyk & Courchene, 2020). They write ‘It is in the wisdom and sacred teachings of Indigenous people across the world. They have the deepest connection to the spirit of the Earth and its history, and from intimacy, healing can occur’ (Maskalyk & Courchene, 2020, p.1). How do we begin to re-establish a healthy relationship with our beloved planet? How can we begin centering and honouring boundaries, respect, and reciprocity? These are important and necessary questions. The answers lie within Indigenous wisdom traditions and land management. Humans and the natural world can co-exist in ways that are symbiotic and reciprocal (Kimmerer, 2013). There is no greater example of this than in examples set forth by Indigenous peoples (Kimmerer, 2013). I recently came across a beautiful example of Indigenous wisdom and land management that I think offers up a profound lesson of extending love, care, and relationality beyond the solely human realm. This landmark event happened, where a river was granted ‘legal rights for the first time in Canadian history’ (Graham, 2021, p.1), and it was not met by great fan-­ fare or huge media attention, but to me this spoke of a much-needed paradigm shift that signified a singular yet powerful step away from the Anthropocene. Jack Graham writes the following in a newspaper article

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entitled ‘Canadian river wins legal rights in a global push to protect nature’: A river has won legal rights for the first time in Canadian history, in a move hailed by environmentalists as a new way to protect nature from humans. The Magpie River in northern Quebec, which runs nearly 300  km (186 miles), was granted the rights this week by the local indigenous council municipality…Rooted in an indigenous respect for land, nature rights are being implemented worldwide through laws, judicial decisions, constitutional amendments and United Nations resolutions. (2021, p.1)

I had been waiting for a decision such as this for years to happen in white setter colonial Canada. In this country corporations are given personhood before the natural world and I feel we are at a crossroads where our lives depend on these shifts in the wake of Covid 19 and climate change. Therefore, this river being granted legal rights (Graham, 2021, p.1) is a ground-breaking decision that helps to reaffirm respect, a sense of healthy boundaries, and reciprocity that is grounded in a thriving relationship with the natural world. I am so grateful for the work of the Innu Council of Ekuanitshit, the Minganie Regional Country Muncipality, and the International Observatory on the Rights of Nature for making this a reality and elevating this beautiful river to its rightful place for all us (Graham, 2021, p.1). Indigenous wisdom and land management points us towards a future that is not bent on destruction of the very land and waters that sustain us. It is clear that we need transformative change on a collective level that helps to rebalance our relationship with our planet. We need to move away from Anthropocene and move towards a relationship that enables the Earth to thrive. Perhaps some of these inspirations for collective and transformative change also lie embedded within our vivid and captivating dreams while we sleep. Conceivably, some of these answers also lie within the fabric of our folktales. In the Goan Folktale of Attulem and Bittulem, is embedded age-old wisdom of love, courage, family, and deep respect for the natural world. It is time we start resuscitating, reanimating, remembering, and re-telling our folktales so that we can empower new generations to honour all life with courage and love so that we can all inhabit a fruitful future.

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Debrief of the Activity Folktales have so much wisdom to offer all of us. It is so important that students in schools have a chance to engage with folktales from their own families, cultures, and worldviews. This lesson plan, designed for a grade 3 class, provides educators (in an Ontario context and can be adapted for other contexts as well) to give students an opportunity to unearth their own folktales from their communities. Students are encouraged to not give up even if this proves to be a challenging task. As my own story demonstrates, there is always hope when it comes to teamwork and the collective, generational, and ancestral memory. The longevity of oral culture is always inspiring. Folktales stem from the imaginal realms, ancestral knowledge and wisdom, and generational relationships of kinship and reciprocity. Dreams are also part of those imaginal realms and also carry within them symbolism and wisdom. In this lesson, students will be engaging in act of generational reciprocity by seeking out a folktale from their family or community and will also be harnessing the power inherent in their own dreams to gift back to their family member or elder their own unique folktale. *In the Activity plan template, you will find a lesson plan that will provide a framework to help unearth both dreams and folktales for the inherent wisdom they offer.

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Appendix Activity Plans Lesson Plan-: Dreams, Folktales and Generational Reciprocity

Subject(s): English Language Arts

Grade 3

LEARNING EXPECTATIONS:

RESOURCES/MATERIALS:

*Point of View in Folktales

Required Materials

*Presentation Strategies

3 Books (on point of view)

Curricular Expectations

Chart Paper

Language

Markers

Lesson Plan Objectives

Student Writing Journals Listening to Understand Point of View 1.8 identify the point of view in different types of oral texts and cite words, phrases, ideas, and information from the texts that confirm their identification (e.g., the use of first- or third-person personal pronouns in a narrative; the selective use of facts on a given topic; the use of words and phrases that indicate generalizations: all, every, always, never, every single time) (Ontario, 2006, p.65)

Presentation Strategies 1.9 identify some of the presentation strategies used in oral texts and explain how they influence the audience (e.g., intonation, eye contact) Teacher prompts: “Do you think the speaker used intonation and eye contact in an appropriate and effective way? How did they influence your response?” “What other strategies might be effective in engaging or influencing the audience? (Ontario, 2006, p.65) Speaking to Communicate Purpose 2.1 identify a variety of purposes for speaking (e.g., to entertain an audience; to establish positive personal and learning relationships with peers; to ask questions or explore solutions to problems in small group and paired activities; to explain to a small group how to play a new game; to present to the class an item or event of personal interest; to share ideas or information in order to contribute to understanding in large or small groups) (Ontario, 2006, p.65)

GROUPINGS:

X Students working as whole class X Students working in Pairs X Students working in small groups X Students working individually

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TIME: Time Frame: 3 Language art lessons (minimum calculation, may take longer)

Pre-task: Give students some advance notice so that they are responsible for the task below. Go over active listening with students so that they are aware of how to actively listen. Have students go home and ask a family member such as a grandparent, parent or a community member such as an elder to tell them a folktale from their own childhood. Introduction Review the following points of view with students and discuss the advantages and disadvantages of each. Provide an example from a story for each point of view. *First Person Book Suggestion for First Person: Evelyn Del Rey is Moving Away by Meg Medina and illustrated by Sonia Sanchez *Second Person

.

Book Suggestion for Second Person: The Runaway Bunny by Margaret Wise Brown and illustrated by Margaret Wise Brown and Clement Hurd *Third Person Book Suggestion for Third Person: The Fire Keeper’s Son by Linda Sue Park and Illustrated by Julie Downing

Create a chart for each point of view that demonstrate the distinctive features demonstrated in first person, second person and third person. Discuss the advantages and disadvantages of each. Students are to recall the folktale told to them and reflect on what made their elder or family member a good story teller. They can write down responses to the following reflection questions in a handout, journal or questionnaire.

TEACHING/LEARNING STRATEGIES:  Debate

X Oral Presentation

 Reader’s Theatre  Role Playing X Discussion

 Interview  Literature Circles

X Think/Pair/Share

 Advance Organizer X Book Talks

 Conferencing  Guided Reading

X Guided Writing Independent Reading Portfolio Reading Response Reflection X Response Journal X Brainstorming  Other: _______________

   

ASSESSMENT STRATEGIES:            

Classroom Presentation Conference Essay Exhibition/Demonstration Interview Learning Log X Observation X Performance Task Portfolio Question and Answer (Oral) Quiz, Test, Examination X Response Journal Select Response Self-Assessment Other: _______________

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Reflection Questions: What made your family member or elder a good storyteller? Was there a moral of the story that really spoke to you? What did you learn from this story and how did it relate to your own life experience? Why do you think your family member or elder selected this particular folktale to tell you?

Prompts to help you answer: What was it about their tone of voice that drew you in? Were they expressive in terms of their facial expression? Did they pause during key moments for effect? Was their language descriptive enough to transport you? What did you especially like about the characters? Did you have a favourite part of the folktale? What experience did the folktale remind you of, from your own life?

Middle Ask students to remember a powerful dream that they had. Ask students to think about some of the following questions when selecting a dream. This can be done as a take home activity or for homework. Reflection Questions about the dream: Why did you select this dream? How did this dream make you feel when you woke up? What did you find most meaningful about the dream? Were the characters in the dream trying to teach you something?

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How did the dream relate to your waking life? Did you ever share this dream with anyone? What do you think this dream was trying to teach you?

Review the qualities that make someone a good listener before engaging in this activity. Have them organize into partners of their choosing and instruct them to retell the dream to their partners. They are to take turns, practicing active listening and to practicing the story telling skills that their family member or elder modeled for them. Activity: Students will be turning their dream into a folktale. Teacher’s Instruction: First review the characteristics of a third person narrative with the students. Refer to the chart (mentioned above) as a class. You may also want to come up with a handout to guide students. After telling the dream to a friend, the student will write down the dream. The challenge is that they are to write the dream in third person. If they are in the dream, they will have to turn themselves into a character in this process. They will also be bringing in a narrator into the story.

Modeling the Lesson The teacher can model this activity by re-telling an ageappropriate dream that they had with the class. Then together as a class they can collectively re-tell the dream using third person. The teacher can write the dream out using chart paper and have the class help transform the dream into a folktale narrative told in third person. Students will then begin writing their own folktales from their dreams. They can practice revising and editing their folktales and include pictures in this process. Turning their dream into a picture book. This activity could also be used as a creative writing grade. Students should also come up with two or three reflection questions for their readers to include at the back of the book. Students will return to their pairs and will join with another pair of students. So, students will be in groups of four,

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making up a sharing circle. This time they will re-tell their dream in third person by each taking turns without the aid of their picture book. In this way, their dream account will be turned into a folktale. They are to focus on telling their story in an engaging and compelling way. After each student has told their folktale the authors can ask their group some reflection questions that they have come up with. End

After students have practiced with their partners, they will be instructed to tell their dream narrative to the same family member or elder who shared a folktale with them. Prior to doing this they should reflect on what made their family member and or elder a good storyteller. This is an opportunity to practice their oral storytelling skills. They are also encouraged to ask them some reflection questions as well. This will enable the students to perform an act of generational reciprocity.

Post-lesson activity 1 After students have returned from having told their stories have them return to their groups of four and discuss the following questions: Discussion Questions for the Group 1. Why are folktales important? 2. Why are dreams important? 3. What did you learn about your family and or community by participating in this lesson? 4. What did you learn about yourself? 5. Did the folktales your family member or elder shared with you bring you a deeper sense of connection? If so, how? What did it feel like? (Think about this question in relation to body, mind and soul/spirit) 6. Did connecting with your dream bring you a deeper sense of connection? If so, how? What did it feel like? (Think about this question in relation to body, mind and soul/spirit) 7. Why do you think it is important to connect to folktales?

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8. How do you think folktales can help you during times of difficulties and struggles? (For example, coping with the struggles of Covid 19?) 9. How do you think dreams will help you during times of difficulties and struggles? (For example, coping with the struggles of Covid 19?) 10. Are there messages in the dreams and folktales about how we treat the Earth? 11. Are there messages about Love in the dreams and folktales? Post Lesson Activity 2 Students can also have the picture books of their folktales laminated and added to the classroom library so that they can share their own inherent wisdom with their classmates.

ACCOMMODATIONS:

ASSESSMENT RECORDING DEVICES: X Anecdotal Record XChecklist  Rang Scale X Rubric  Other: _______________

MODIFICATIONS:

HOMEWORK: Closing of Lesson: After students have practiced with their partners, they will be instructed to tell their dream narrative to the same family member or elder who shared a folktale with them. Prior to doing this they should reflect on what made their family member and or elder a good storyteller. This is an opportunity to practice their oral storytelling skills. They are also encouraged to ask them some reflection questions as well. This will enable the students to perform an act of generational reciprocity.

TEACHER REFLECTIONS:

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References Bullstar. (2015, February 3). Attulem Ani Bittulem : A folk tale from Goa. Adi's World. Retrieved April 9, 2022, from https://adimusings.wordpress. com/2015/02/03/attulem-­ani-­bittulem-­a-­folk-­tale-­from-­goa/ De Souza, P. (2012). Attulem Ani Bittulem: A Goan’s Folk Tale [web log]. Retrieved October 1, 2020, from https://placidoponders.wordpress. com/2012/04/21/attulem-­ani-­bittulem-­a-­goans-­folk-­tale/ . Graham, J. (2021, February 24). Canadian river wins legal rights in global push to protect nature. Thomson Reuters Foundation News. Kimmerer, R. W. (2013). Braiding Sweetgrass. Milkweed Editions. Government of Ontario, Ministry of Education. (2006). Government of Ontario. Retrieved from http://www.edu.gov.on.ca/eng/curriculum/elementary/language18currb.pdf. Maskalyk, J., & Courchene, D. (2020, December 18). The Globe and Mail. Retrieved April 9, 2022, from https://www.theglobeandmail.com/opinion/ article-­the-­real-­cure-­for-­covid-­is-­renewing-­our-­fractured-­relationship-­with/. McQuade, J. (2019, April 18). Earth day: Colonialism's role in the overexploitation of natural resources. The Conversation. Retrieved April 9, 2022, from https:// theconversation.com/earth-­day-­colonialisms-­role-­in-­the-­overexploitation-­of-­ natural-­resources-­113995 Santos, “Meurin”, A. F. (1970). Folk Tales of Goa. Tollefson, J. (2020, August 7). Why deforestation and extinctions make pandemics more likely. Nature News. Retrieved April 9, 2022, from https://www.nature. com/articles/d41586-­020-­02341-­1?sf236626601=1

CHAPTER 13

Teaching and Learning from Our Elder’s Feet: Decolonizing Education Through Embu Proverbs Njoki Wane, Madrine G. Muruatetu, and Sein Sheila Kipusi

Objectives • To recognize the important role of elders in facilitating transfer of knowledge intergenerationally through oral teaching. • To understand the role of elders in helping community members heal emotionally, physically, or spiritually. The elders within the African society are/were our teachers, herbalists, agriculturalists, historians; in a nutshell, custodians of our community. These elders are the transmitters of our culture we well as guardians of the

N. Wane (*) • S. S. Kipusi University of Toronto, Toronto, ON, Canada e-mail: [email protected]; [email protected] M. G. Muruatetu University of Embu, Embu County, Eastern Province, Kenya © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_13

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secrets of particular societies. They were also referred to as the consultants of the community. When it came to cultural values, they knew them best. They were our librarian and many times, when they transitioned to the spiritual world, they were mourned, because the community felt, a library had been shut down for good. These elders did not have structures they called schools or buildings that they referred to as institutions of learning. They were the institutions, and they knew who were the specialists in these institutions. These elders also knew, they did not have to worry that their instructors were not qualified or they did not have the proper tools of transmitting knowledge to the next generation. The instructors knew they would be teaching by using observation, proverbs, idioms, storytelling to their students. All that the instructors wanted from their students were deep listening skills, good observation, and stillness. Of course, the elders also knew that they had young men and women who could not see or hear, these too, had specialists who ensured that they were not left out or discriminated against because of their difference. The society took these young people as gifts and would be eagerly waiting for them to reveal their special talents. The elders enabled the youth to develop social sense, respect, and compassion for people, as well as practical skills to heal emotionally, physically, or spiritually. The education provided was holistic and complete. For instance, learning to heal was embedded in everyday practice and in social relations, but is also a moral and emotional process in Africa [9]. This chapter is based on cultural roots of Embu people and what we learnt from our elders. In this chapter, we shall only focus on proverbs as a teaching tool. This chapter situates the arguments on anti-­ colonial thought and Indigenous knowledge as a path for decolonizing of education. Before we delve into the chapter, we will situate ourselves and show how indigenous ways of learning speaks to us as educators within the twenty-first century and how we utilize proverbs in our teaching. But first something about the rootedness of our education in colonization. As Mazama affirms: Colonization was not simply an enterprise of economic exploitation and political control, as it was commonly held, but also an on-going enterprise of conceptual distortion and invasion, leading to widespread confusion and ultimately, mental incarceration. (Mazama, 2003, p. 3)

Mazama’s quote is supported by Fanon’s and Wa Thiong’o’s work who, among others, articulated the goal of colonizing colonial subjects: break their spirit, subjugate their knowledge, then make them hate

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themselves, their languages, and their cultures. For instance, most colonial governments viewed Indigenous ways of knowing, their cosmology, their spirituality, and their ontological existence as “barbaric,” “backward,” “traditional,” and “unscientific” (Shizha, 2013). A colonized subject’s ways of knowing and their methods of learning were portrayed as invalid hence the colonized people were forced to assimilate a hegemonic foreign culture. Cutting the roots from the tree. Without roots, without knowledge of your history, one becomes weak. Hence, the African proverb “It is in the roots not the branches that give trees their greatest strength.” As an African child, when you see images of poverty about your continent, you grow up wanting to disassociate from the continent. This is not healthy at all, because not having a sense of your positive history when growing up. Pre-colonization and Indigenous knowledge production was holistic and integrated all activities including rituals, ceremonies, and skills required to sustain cultural practices of economic resilience (Owuor, 2007). The aim of holistic learning was to prepare individuals for communal responsibility and interpersonal relationships as key components of the learning process. On the other hand, the colonial knowledge and learning styles promoted individualism and competition, which were antithetical and anathema to African communal living (Shizha, 2013). Colonial education, economics, and cultural practices hence sought to subjugate Black people by disconnecting them from their holistic type of education that connected the body, mind, and soul; ultimately, the tree must be connected to the roots, the branches, and the leaves. Before we go on, we shall locate ourselves below:

Njoki Wane In most of the papers that I have written, I often reflect on my upbringing and my education in Kenya. I will be honest with you (the reader) I took pride in attending colonial schools and memorized everything that we were taught. I want so badly to be Westernized, a dream that my parents had. Elsewhere (2003) I have articulated how my: “parents wanted me to acquire a European education, an education that would remove me from my rural upbringing and enable me to lead a different and supposedly ‘better’ life. Indeed, the acquisition of a European education enabled me and other Africans to travel to Europe and America to further our education. Thus, of all aspects of Western colonial mechanisms, the one that Africans found most seductive was formal Western education.

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Africans acquiring literacy in English or French were quick to realize that a university education opened up prospects for economic advancement, individual attainment, and would ultimately provide keys to political power and self-government or self-advancement” (Wane, 2003). Elsewhere (2014), have reflected on how the teachings I received from my elders before attending colonial school were ingrained in my psyche and were quickly available to be when I need that education…, I attended missionary schools from grade 5 to grade 12. All of my teachers were White nuns, and I followed a British curriculum and memorized material written by Western scholars to pass British set examinations. I took pride in reading and reciting works of Shakespeare, D.H. Lawrence, Bernard Shaw, Hemingway, and Dickens, and I regarded others who did not read or enjoy reading these books as backward and illiterate. (Wane, 2003, p. 321)

I thought that Ngugi Wa Thion’go, who began in the 1970s to decry the “colonial mentality” and to promote the virtues of writing in African languages, was a whining, troublesome English professor. Today, Wa Thion’go is my hero. His scholarship on decolonization has paved the way for many scholars [Wane, 2003, p.  321]. His work has pushed me to address my colonized mind and to search for my authentic self. Writing this chapter is a way of resisting colonization of the mind, body, and soul. I have come to an awakening that education was an organized form of imperialism that continued through the hands of African themselves. The emphasis on colonial education was to ensure there was complete erasure of traditional knowledges and ways of being. This has made decolonizing of education, a very difficult task. But I won’t give up!

Madrine G. Muruatetu I am a village girl from Embu community, a Kenyan and an African woman. From this definition, one can tell the struggle of yearning for self-identity. Just like me many girls/women/men in Africa wonder who we were before the colonial times. It’s through education whereby we learn our history and get to know our identity. It is not an easy task today to rediscover who we are as Africans because many of our values have been confused between the Western and the African cultures. It is in this light I got the interest to research on Embu Proverbs through an invitation by a renowned Embu scholar based in Canada. The invitation I received from Prof Njoki Wane, to write about Embu proverbs is for me an honor and a big pleasure. My intention is to express

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the characteristics of “African thinking” which can be intelligible and acceptable in the environments of Western and African academicians. This approach has an expression of an African Vitalogy. This approach also tries to rediscover the essence and the profound reason of all that exist presented in proverbs forms. In this particular moment of the history of humanity, where each different people tries to determine its identity or collective identity and reach out to each other, therefore in favor of Africa, has to preserve that substantial unity that characterizes the same African society. Trying to speak of Embu proverbs, I have above all considered culture in all its aspects, for culture itself is in fact the departure point of every Africanity, and thus for the individuation of the same African thinking, as a place and a means and condition of intelligibility of the same African cultural values. In fact, it is rightly through thought that our generations have to promote and share African cultural values with other people in the world. I am speaking of Africa and more precisely of the sub-Saharan “Black Africa”. In any case, I speak of Africa nevertheless in its complexity, Africa is capable of interacting and cooperating with other continent partners in every field. In fact, African unity is a result of the cultural unity of the African people. I affirm this in accord with Cheikh Anta Diop (a thinker from Senegal) who entitled one of his books: L’unite culturelle del”Afrique noire, (1959). Culture in Africa is a project of the community for it embraces the totality of the life, and it is the synthesis of the natural and spiritual values of each and every group, clan, tribe, race, and nation. In Africa, an individual exists, then the community exists: the community exist, then the individual exists. This is why the values spoken in Embu proverbs like the family hospitality, brotherhood and sisterhood, respect towards others, etc. extend themselves as concentric waves giving room to the enlarged family which dissolves itself in the community of the people, in the entire human family. Therefore, the West needs Africa: the East needs Africa in the same way as Africa needs the West and the East. But, if each does and everyone does not maintain a personal identity in his dialogue with others, there will be a risk of presenting a false image of one self and by so doing, annihilate the riches and positive cultural differences which offer to each other the possibility of constructing a world community rooted on cooperation, solidarity, sharing, and communion. Presenting my Embu proverbs, I express my cultural values which I intend above the unity of reality in the African perspective.

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Sein A. S. Kipusi As a child raised in Canada, I remember seeing commercials of Western charities asking for one dollar a day to feed an African child. Africa was illustrated as a place of exotic animals, poverty, and no technology. However, when I looked in the mirror as a child, my African face looked right back at me. What this did for my psyche created an innate curiosity yet confusion of my identity and a sense of “where do I belong.” I am Black, I am African, however my culture, my language, my mannerism, was Canadian. Growing up, the proverb I heard from my parents “It is in the roots not the branches that give trees their greatest strength,” as an adult I needed to find my roots, I needed to know who I am and where do I come from, so maybe I could start to answer the question as a child “where do I belong.” My journey of self-discovery intertwined with my political identity crisis is which many scholars have provided analysis on the impact of the transatlantic and transpacific slave trade, colonization, cultural imperialism, and racism as some of the underlying issues that have had a detrimental impact on the self-identity of Black people in the diaspora. The first step in finding my roots was to go to Kenya. I left Canada to go to Kenya for high school with notions of my self-­ identity as a racialized, gendered, “third-world” privileged Black woman. Only to discover I entered Kenya with a vitality steeped in Eurocentric pedagogy that became problematic in my self-discovery journey of finding my roots due to the impact of colonization on my psyche. What saved many and my Indigenous inculcation was the occasional visit to aunties and uncles who always spoke to be through proverbs or wise saying. Thinking through some of the proverbs as we wrote this chapter reminded me of how far we have come in putting down this very important form of teaching. I wish I was exposed to it during my high school education in Kenya. My quest to ground myself in what speaks to my roots is a long road due to colonization. However, as I sort to discover my ancestral history, their medicine, their spirituality, their values and governance systems of pre-colonial Kenya is when I faced the detrimental impact of colonization.

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Anti-colonial Thought and Indigenous Knowledge We ground this writing in anti-colonial and Indigenous knowledge discursive frameworks: a pathway for decolonizing epistemology. An anti-­ colonial discursive framework Simmons and Dei (2012) speaks to our effort of decolonizing education. While Indigenous knowledge aims to capture the fluidity between the past and present, recognizing that, the former cannot be quarantined from the latter [Said, 1994]. We argue that indigenous knowledge is a living experience that is informed by ancestral voices through our elders (Wane, 2005). This discursive framework speaks to both colonized subjects and colonizing subject. This mode of theorizing brings a particular reading of the “colonial” to the present in “which both the colonizer and the colonized (Memmi, 1965) nations, states, and communities, as well as bodies and identities are engaged as still colonized and resisting the colonial encounter” (p.70). While Simmons and Dei (2012) argue that themes such as multiculturalism, diversity, hybridity, ethnicity, difference, and heterogeneity are prevalent in post-colonial discourse, we argue that these themes are also relevant in anti-colonial theorization (Wane, 2014). The notion of decolonization within the anti-colonization discourse supports this work as it seeks to include otherwise excluded teaching tools from Indigenous peoples and as Simmons and Dei argue, identify an alternative body of knowledge, one that is imbued through local knowledges. Situating our chapter on anti-colonial principles means speaking through difference and embodied knowledges (Simmons & Dei, 2012). We shall be emphasizing the following tenets of anti-colonial theory: pursuit of agency, resistance and subjective politics, knowledge must purposively serve to challenge colonial imposition, process of knowledge productions, interrogation and validation, claiming authenticity of local voice and intellectual agency of peoples, and transhistorical analysis of experiences (Fanon, 1967, Wa Thiongo, 1985). In his writing, Fanon indicated that we can do anything as long as we are not running toward Europe to try and catch up with them. Anti-colonial theory emerges from the “ground-up,” from the experiences of people in their own contexts (Simmons & Dei, 2012). “Indigenous” is a very contested work. Many times, people of African ancestry are not considered Indigenous. How can they be, many ask, when they have no known knowledge? That is where I raise my hand and tell the world, we are from the largest landmass on planet earth. We are the originators of many schools of thought. The European have strived to

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mask Africans who were inventors, scientists, and, philosophers in most of the writings about Africa and Africans. This is what Wa Thio’ngo and many others have been telling us. However, we are too focused on running toward Europe and every time, we think we have arrived, we are pushed back and told in no uncertainty, we do not belong and we shall never belong. Many times, we are referred to as subhuman. Is it of any wonder, we have reverted in excavating our Indigenous teaching tools? Our African Indigenous knowledge and specifically knowledge that is informed by cultural norms, values, beliefs of Embu people (our ancestral lineage) is directly rooted to the land, the rituals, and the teachings that accompany these rituals (Dei et  al., 2018; Wane, 2014). Situating our chapter on Indigenous knowledges has given us a chance to reclaim our ways of knowing and place these ways in contrast to the perspective of the colonizer which portrayed them as primitive and backward. Centering African ways of knowing and creating knowledge, Indigenous African learning plays a vital role in the transmission of values considered essential in understanding and experiencing the fullness of life. It is interwoven in the fabric of African life and inseparable from African religions or spirituality. When African people talk about education, they make a distinction between formal and non-formal, or informal, education. It is, however, important to note that the term “education”—going to school— is somehow removed from what African people conceptualize as learning and teaching. In indigenous societies, knowledge is collectively and communally shared, and not monopolized by individuals. However, individual elders may preserve knowledge for the community. Various members share knowledge while specific elders from the community remain its custodians [Agrawal, 1995]. Wane (2014) has found out through research that the “Embu people, knew the right language to use when addressing the land issues, they knew the appropriate sayings to appease the ancestors.”

Indigenous Teaching Tools: Use of Proverbs and Their Application Proverbs play an important role in education as part of gaining cultural knowledge, metaphorical understanding, and communicative competence. Proverbs have been used to spread knowledge, wisdom, and truths about life from ancient times up to the current times in many cultures. In Embu culture, proverbs are used to communicate a message and to teach wisdom especially to the youth and children. As one of the Embu proverb

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goes, Mwana ti wa muciari umwe—a child does not belong to one parent. This community share common ancestry and origins of other Bantus from around Africa. From historical accounts, the Embu are believed to have migrated from the Congo Basin together with their close relatives, the Kikuyu and Meru People. In the classroom, this particular proverb is very applicable: the teacher becomes the custodian of knowledge. All responsibility to cultivate intellectual capabilities of the learner is left to him. For instance, Ndugatume ngethi kuria uthiite—Don’t send greetings where you are going. This one was applied in cases when people avoid unnecessary excitement that would lead to anxiety. Therefore, if someone was sent to an occasion, he was advised not to ask many questions about a certain occasion but discover for himself or herself. Mugi ni mutare—A wise man is advised. This was meant to teach people to learn to observe events wisely and capture their meaning. Sometimes during wedding negotiations, the elders discouraged long conversations about deals so that they could reflect and grasp the meaning and the fate of the marriage. The same proverb was also used to children, as an intelligent child was never supposed to ask too many questions. This also applied to yet another one that says: njokoma mbaro yumaga gikurirori—The character of a person can be explained by his/her upbringing. Ndugeturure ukionoria —Do not pour while collecting, its intended meaning was to advise a person to act wisely before a desired act. The person was required to study an environment intelligently before behaving in a manner, which may be questionable. Therefore, to avoid unnecessary interrogations, one was advised to observe keenly. Vinya wa king’angí ukoragwa majiri—The strength of a crocodile is in the water, the interpretation of this proverb means that every person is powerful in his own environment. The application is that, nobody can come and take control of your house. One has the authority to take charge and be responsible. Kirrimu nikio kigeragia varia maai makinyite na kuguru—Only a fool will test the depth of a river with both foot. Nobody will take a risk in life knowingly. Akua utune ta nguku— He has died innocently like the red-beaked, red-crested bird. Application: It is used to show that someone gets victimized or misjudged by their appearance, although they are innocent. Gucura kwa yage tikuo gutwika—The heavy hanging of the fruit does not mean it will fall from the tree. Applied it means: Serious

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problems should not cause you to despair. There is always a chance to make things change for the better. Cia mucii ti como—Family matters should not be exposed to everyone. Teaching: Family issues should not be shared with outsiders. Keep private issues between those concerned. Guoya niyo yengivirie ngoyo—Fear caused the increase in number of “ngoyo” heart beats. meaning: It is used to encourage people to be careful about everything they do. ‘Fear’ to do wrong acts. Being careful gives you a longer and peaceful life. Gutiri muthamaki utagutagwa—There is no king who is not gossiped about. People in authority are prone to slander and criticism. One should not be distracted by such talk, but should focus on their endeavours. Gutiri muthenya ukecaga ta wingi—No day dawns like another; it is used to encourage people to realize that situations are not constant. They change throughout life. They can change from bad to good and vice versa. Gutiri mwii na mucuthiriria—There is no difference between a thief and her/his accomplice. It is used to teach that evil is evil whatever the distinction, and it is not acceptable. An associate of an evil doer is also as bad. Gutiri thiri ya mundu umwe—There is no secret of one person. It is used to warn that a person will usually tell another about an issue which is meant to be kept as a secret. The second party will forget and tell it out to another. It hence becomes public knowledge. Gutiri undu utari kiambiriria kiaguo—Everything has its origin. All issues have a starting point: a source where they all begin. Gutiri utuku utakecaga—Every night dawns to day. It encourages that problems and difficulties may be present, but are never permanent. They come to an end at some time. Gikaro kimwe gitiocagwa mbui—One cannot collect feathers from one particular place. One should not be fixated on one opinion or activity (endeavor), but should be flexible in order to be more successful. Mbura ikirega kuura igwatagia rukungi—When the rain fails to pour, it blames the wind. Lame excuses do not solve problems. Always give feasible reasons for failure to perform a duty or fulfill an expectation. Never blame the circumstances. Imenyagwa yari iria yakua—It is when the cow dies that you realize it provided milk. It teaches that the value of a person, animal, or asset is only realized when they are no longer with us. Nothing or none should be taken for granted.

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Iri ngure ndici iriuko—When chased suddenly from the watering hole by an enemy, one does not remember the regular crossing. This teaches us, when a problem arises, one has to think of an immediate solution and one can seek help even from strangers. Kanyua werire—You bite your own tongue. Some people damage themselves by what they say or cause anguish and misery to others. Therefore, one should think twice before expressing their thoughts. Kanya gatuneni mwamukaniro—A gourd gets smooth because of being passed around by many hands. Even the bitter most thing becomes sweet when it is shared with others. Friendship strengthens by sharing and doing things for each other. Kanyiri kainagua ni mwene— A tail feather can only be waved by its owner. It is used as a warning that only the person concerned with a problem will know its botheration. An outsider cannot be concerned deeply. So one should not wait for others to do things for them. Kiguoya kenukire ng’ina kiri kigima—The coward ran back to her/ his mother without scratches. Self-defence is not the same as making a cowardly retreat. Care and caution are always advisable because it is the law of nature. Kathunya ka mwana munyi kauragira njarari—A child loses her/his treasured item as she/he holds it in her/his hand. A young/inexperienced person has little wisdom to enable her/him to take care of her/his property. Kavuthia kavarurukirie mwatu—Assuming causes the ruins of the beehive. It teaches that careless behavior can result in very serious problems. Kiara kimwe gitiuragaga ndaa—One finger cannot crush a louse. One cannot be successful doing things alone. Collaboration with other people results in greater success. Two is better than one because they have a good reward for joint toil. Kienjagwa uria mwene akwenda—The head is shaved as the owner wishes. Choice about any matter in life is made only by oneself, in all situations, whether good or bad. Others cannot make a final decision for you. Kiguuta kigwatagia muro— A lazy worker blames her/his tools. Kiswahili. One should not give lame excuses when she/he fails to perform or to achieve a goal. One should accept her/his weaknesses/inabilities. Kindu kioneku gitiikagirwa muvuthia—What is available to you should not be taken for granted. Value and seize the opportunity you get,

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because it may never present itself again. What is available is more valuable and useful to you than what you wish for. Kiratu gitumagwa na ikinyo ria mwene—The shoe is fitted according to the size of the wearer. One should assume only the responsibilities which befit her/him and not beyond one’s abilities, because she/he will fail in the endeavors. Kirema arume nikigariure—Nothing is impossible for humanity. All problems can be solved, however difficult, by manipulating possible solutions. Kirimu ni ta mwatu—A fool is like a beehive. It implies that a person needs to have foresight and not live without ambition. Even if one is already comfortable, he/she should plan for a better future. Kironda kia mwene gitinungaga—One’s own wound does not smell. Nobody sees their own weaknesses and defects however serious they may be, but is quick to see those of others. It implies that people should value what is theirs, even if it is not the best. Kivoto kiunaga uta mutunge—A just answer breaks a set bow. Revenge is appeased by reasonableness. A soft answer turns away wrath further, meaning that pleasant words are like a honey comb, sweetness to the soul and health to the body. Kunuva gutiricagwa—Selfishness cannot be eaten. Being mean does not benefit a person in any way. Sharing is most beneficial. Kuria muno ni kuoria nda— Gluttony rots the stomach. Do not be greedy in anything. Do not toil to acquire wealth; be wise enough to desist. Kurivwa nai gukirite gutavwa—Better to be paid in bits than let your assets be taken away from you. It is preferable to be paid a debt slowly however long it takes than not to be paid at all; reclaim and accept what is offered as payment, than to lose everything (bad debt). Kuthekua ti kwendwa—To be smiled at is not to be loved. One should be careful of pretenses in other people. They may pretend to be your friends, but they may be your foe. Kuthii gutigiragia mundu acoka—Departure does not prevent one from returning. It is used to teach an important lesson: a person can change her/his mind about their opinion about a matter or a decision they may have made earlier. Kuthii mbere ti gutava—Arriving ahead does not mean success in a ride. Doing things ahead of other people does not assure you of achieving your goal. What is important is doing things the right way.

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Kuuga na gwika—Say it and do it. It teaches that a person should act upon what she/he says, not just saying things. (Actions speak louder than words.) Kwaria wega gukirite kuvecana—Speaking well is better than offering gifts. Polite/kind words are more valuable than offering tangible gifts to a person. Ma ndikucaga—Truth never dies. This proverb is used to encourage people to always speak the truth. Truth always prevails. It cannot be hidden and will finally stand out from lies and falsehood. Mviti ndithinjagirwa kairi—No hyena deserves to be entertained twice. One should not keep repeating their mistakes. It is acceptable to err the first time, but not a repeat. Mbogo nyingi itiri nyama—A herd of buffaloes has no meat. Organizing an unruly crowd, to work productively, is impossible. One has to divide them into smaller groups in order to be able to take control. Fewer people undertaking a duty are more productive than a large number. Mburia ithwire mai mayo— A rhino hates the sight of its feces. One should beware of those persons associated or related to you, because they may not wish to help you succeed in your endeavours. They can ruin you, pretending to be your support. Mburia kiara ivuragia kaviu ga kumithinja—The finger teases the knife which will slaughter it. When one does bad/wrongful things intending to harm other people, he/she harms himself instead. Mucera na mukundu akundukaga taguo—Anyone who associates with a bad person also becomes bad. (Birds of the same feather flock together). A person gets negatively influenced in behavior and character by the bad people he/she associates with in his/her daily life. Muketha utuku ndaici kinoru—One who harvests at night does not know the healthy millet. It means that whatever we have, we should know its worth. Mundu mugo ndari ngumo kwao—A healer has no recognition in his home. Familiarity makes someone fail to appreciate the abilities of another person. Muria na kavaca namenyaga muria na njara nuravia—The one who eats with a spoon does not know the one using fingers is uncomfortable. When someone is having a comfortable life, he should remember to assist those who are in need. Muria weka akucaga weka—One who eats alone dies alone. When one lives in isolation, he does not get help from other people when he

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needs it. Association with other people is necessary for one to succeed in his endeavors. Be generous and share your wealth. Murimi tiwe uricaga—One who tends the crop is not the one who consumes it. Kiswahili: Mkulima hali peke yake. Teaching: One should learn to share their successes with others. Let others also benefit from your work. Murimia ndari karo (muro) gatuvu—One who tills the land does not consider any hoe as brunt. One has to work very hard and tirelessly to earn a living by whatever means. Murume wa aka airi ndathekaga—The husband of two wives does not laugh. A polygamous marriage has double share of problems and disputes. Hence, there is no joy in polygamy. Muthii eci kuria aumite, nwati ndeci kuria athiite—The traveler knows where he is coming from, not where he is going. One cannot predict the results of their plans, until they are accomplished. You can hope and see good things ahead, but things can change. Muthii ndaumbikaga ndigu—The traveler does not bury his banana in the fire. Do not undertake another duty before completing the previous one. Do not leave unfinished/unresolved matters pending. Other circumstances interfere and can prevent you from completing. Mutino nduri njamba—Misfortune knows no hero. Misfortunes/ troubles and bad luck can befall anybody, regardless of status, gender, or age. Everyone can expect to experience misfortune sometime in their life, but will overcome it. Muvoi ndauragia gukathima—A beggar does not need to extract fat from meat. A person with no means does not have a choice in what he is offered. At least he has something at hand. So a person who asks for help should not disregard whatever he is given. Muuru aii njira yake—One who is bound to stray follows a defined path. It is used to warn a person who does not heed to any advice because he will get into problems. Mwakiriria nyungu igiri imwe nirunguraga—One who cooks two pots never fails to burn one. It warns that person cannot pay attention to two things at the same time. One should prioritize one thing at a time, and it will be successful. Mwana muugi ndari muvere ya ndeto—An intelligent child does not have to be instructed in too many words. Intelligence and wisdom help a person to understand matters easily and quickly.

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Mwana ni toria wingi—All children are of similar value. Children should not be discriminated. They are all valuable to the family/community, regardless of their background, abilities, and physical appearance. Mwana uri matu aricaga matu make—An obedient child benefits from his/her obedience. A person who heeds advice succeeds in his/her endeavors. People want to associate with him/her and also to assist him/her. Mwere mwega umenyagwa na ngetho—A good millet crop is known by its yields. Matters can be judged only when they are completed. One should not judge others before scrutinizing and understanding them fully. Mwetereri ndanogaga—One who waits does not tire. A person needs to be patient in order to be rewarded by achieving an objective. Nauma kia makanga nathii kia macikari—I have come from an unruly situation to one of extreme rules and order. (From the fire into the frying pan). It is used to express change of situation from bad to worse. One may think they are in a bad situation and seek an alternative one. Surprisingly, they find that the alternative is even worse. Ndinakworota ni kara keveta— I have not pointed at you; it’s my finger which bent. The pointing of an accusing finger at someone does not really disclose the details of what mistakes he has done. Pointing a finger at someone doesn’t mean that the person is guilty. It is used as a warning that one needs to correct their mistakes and not repeat them in future. Ndiocagwa na mata ta ngage— You cannot trap me with saliva the way you trap a flea. Do not let anyone coax you into doing the things that you do not wish to be involved in or let others take you for granted. Ndugacuke ithiga wikarire manji—Do not gossip or plan evil about a rock when you are sitting in water. It teaches that one should not gossip or speak evil against someone when their relative is present. They will report to them. Therefore, do not discuss or think evil against anyone. Ndukagurwe ni nja mwaro— Do not be attracted by the outward appearance of a homestead. Outward appearance is misleading. A person or situation may seem appealing or comfortable, but it is not so. (All that glitters is not gold). Ndukanatheke nthongo ndunavitia kumigia—Do not laugh at a mono-eye because you can become one. Do not enjoy other people’s misfortunes. They could befall you too. Nditecagwa itaringande—The bone is only thrown away after it is bitten deeply to reach the marrow. It is used in encouragement to someone

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to not give up on an issue before they have struggled to seek an alternative solution to the problem. Ngi imwe yoragia muthuri—One fly spoils the soup. A minor mistake can spoil all good plans. One person’s mistake can cause failure of a good intention. Ngiariria kiri nthi wana kiri itara nikiregua— When I speak to the one below, even about the ancestors. A person should not secretly curse or speak negatively of another because he will know at a certain time. Someone may hear you and will be displeased, then go to that person and inform him/her. Even if you speak indirectly without indicating that you were discussing him/her. (Even walls have ears). Ngingo ndikiraga kiongo —The neck does not go above the head. Respect those in authority/your superiors because you cannot compete or be equal with them. Also respect those who are older than you. Ngomi ndivagia mwatu—The chisel does not damage the beehive. When one is being corrected, he should realize he is being assisted and not being harmed. Accept positive criticism. Ngwaci ya mwana wene niyo ivoragia mwaki—The sweet potato of another child is used to put off the fire. One does not see the errors in oneself, or their children, but sees those of other people. They feel self-­ righteous. We are quick to judge and criticize each other. What this proverb teaches us is that: reflect your thoughts before you share them with others. This is very much applicable in a school situation. Teachers need to pause before coming to a conclusion about each student in their classroom. Ngwiririria rwitiki, kienyu kiri munengerwa—I long to eat the crumbs; the bigger chunk belongs to another. It warns against discriminating people. It is not right to favor one person and especially openly: treat them equally. Nigitu na ndumo—The calabash/gourd is leaking at the seams. It is used to express when a problem has become more serious; it has not improved or changed. A situation which seems not to be solvable because people have not thought through it. In the section below, we shall provide a lesson plan using proverb. This will be a template that can be adopted by teachers depending on their grades.

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A 45-Minute Lesson Plan. Topic: Feedback After a Maths Test Proverb: 1. Nigitu na ndumo -The calabash/gourd is leaking at the seams (When you release you have a problem, seek help before it is too late) 2. Mbura ikirega kuura igwatagia rukungi—When the rain fails to pour, it blames the wind (You cannot blame other for failing your test. Master the concepts; seek help). 3. Nditecagwa itaringande—The bone is only thrown away after it is bitten to reach the marrow. This proverb is used to encourage when people or students are in despair. This is a good way of showing students not to give up even when they are failing an exam. There is a solution to all problems. 4. Mwakiriria nyungu igiri imwe nirunguraga—One who cooks two pots never fails to burn one. It warns that person cannot pay attention to two things at the same time. Prioritize one thing at a time, and it will be successful. This proverb is very useful when asking students to pay attention to what the instructor is say. Date

Time slots

Problem for solving Solution

Artifacts, teaching tools

Objective

5

Explaining what the issues is

Chalk

At the end of this class, students will be able to identify where the problems are and resolves them in groups and individually. Teacher to use story telling of fetching water in a leaking gourd Use of Proverb

Calabash, water, paper, scissors, coloring paper (continued)

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(continued) Date

Time slots

November 9.10am to 9.55am 3rd 2021

Problem for solving Solution

Discuss with students what they found difficult 9.10-9.05 Recap about the test 9.05-9.30 What is the Teacher to explain the essence of the perception about and proverb we are math in general and using Algebra in particular. Teacher to explain in simple terms about circumference, triangle, circles, 9.20am to Teacher to explain Students to try in 9.45am the essence of groups or individually. each drawing the Teacher to go round the students have class explaining to them created and use the connections their instruments between what they are to measure. Also doing and the proverb. to discuss the If you do not correct difference between the tiny problem, with rectangle, square, time it will become too circle, etc. big and difficult to deal with. 9.45am–9.50am Recap, questions

Artifacts, teaching tools

Half the class failed in the algebra test

Paper for students to create triangles and circles,

Students to use their creativity to solve what went wrong in their answers

Conclusion These proverbs that we have shared with you can be applied in our everyday teaching as deemed appropriate. The teachings through proverbs was our everyday occurrence. Our parents or our elders in the community did not announce in advance that they would be teaching on this topic or that topic. It just happened.

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Appendix Activity Plans Subject: Gikaro kimwe gitiocagwa mbui. Translated: One cannot collect feathers from one place. Meaning: One should not be fixated on one opinion or activity (endeavour), but should be flexible in order to be more successful.

LEARNING EXPECTATIONS: a) b) c) d) e) f)

Understand the use of the proverbs Appreciate the meaning Enjoy reading proverbs Appreciate narrative viewpoint of culture Appreciate culture and traditions Analyze the teachings of the proverb

RESOURCES/MATERIALS:

• • • • • • • •

Text books Teachers notes White board Wall posters

Pre-reading activities Video

Recorded proverbs Students interviews with the elders

GROUPINGS:

• • •

TIME:

Introduction of the lesson How the proverbs were used? (15 When were they used minutes) Reasons of using proverbs

(15 minutes)

Activity Description and Details: - Encourage students to sit in groups to write and share proverbs that they know. The teacher goes round and visit each group and asks each student to share a proverb with the members.

Students working in Pairs Students working in small groups

Drama /play Role playing

TEACHING/LEARNING STRATEGIES:

• • • • • • • • • • •

Debate Oral Presentation Group discussion Interview Text books Guided Reading Guided Writing Independent Reading Folk songs in groups Exercise comparing different proverbs in different times

-The teacher will encourage the student that once they go home to make enquiries on proverbs from their parents and ASSESSMENT STRATEGIES: other community members. • Classroom Presentation

-The teacher will write on the board a list of proverbs and

• • • • •

Drama Exhibition/Demonstration Observation Question and Answer (Oral) Quiz, Test, Examination

-

Self –rating

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their meaning. -Students will be encouraged to pair up and share their experiences in the use and application of proverbs.

ACCOMMODATIONS: As students are working on the task, as an educator go around and support students who may be struggling via oral conversations and prompting. Students can also write it in their mother tongue.

-

Discussions Students writing on their books

ASSESSMENT RECORDING DEVICES:

• • •

Checklist Marking scheme Questions and answers

HOMEWORK:

TEACHER REFLECTIONS:

Homework: Students are encouraged to have conversations with their parents, guardians, grandparents, and other community members to help them further develop and expand on their knowledge on proverbs.

Teacher should write different proverbs on posters and hung them on classroom walls, this will help students read them and understand better. References

• •

Mwaniki, K.H.S. The living History of Embu and Mbeere. Nairobi: Kenya literature bureau, 1973. Fork song

References Dei, G., Darko, I., Jadie, M.  D., Demi, S., & Akamori, H. (2018). African Proverbs as Epistemologies of Decolonization. Peter Lang. Mazama, A. (Ed.). (2003). The Afrocentric Paradigm. Africa World Press. Memmi, A. (1965). The Colonizer & the Colonized. Profile Books Ltd.. Mwaniki, K. H. S. (1973). The Living History of the Embu and Mbeere. Kenya Literature Bureau. Owuor, J. (2007). Integrating African indigenous knowledge in Kenya’s formal education system: The potential for sustainable development. Journal of Contemporary Issues in Education, 2, 2. Shizha, Edward. (2013). Reclaiming our indigenous voices: The problem with postcolonial Sub-Saharan African school curriculum. Simmons, Marlon, & Dei, George S. (2012). Reframing anti-colonial theory for the diasporic context. link to this item: https://www.um.edu.mt/library/oar/ handle/123456789/19585. Pulled on September 8, 2021. Wa Thiongo, N. (1985). Decolonizing the Mind: The Politics of Language in African Literature. Heinemann. Wane, N.  N. (2014). African Women’s Voices on Indigenous Knowledge of Food Processing Practices among Kenyan Rural Women: A Kenyan Perspective. University of Toronto Press. Wane, N.  N. (2003). Embu Women: Food production and traditional knowledges, resources for Feminist research. RFR Journal, 30(1-2), 1.

PART IV

Community: A Collective Group or Geographical Space That Attends to the Needs of Its Members with Love, Respect, and Reciprocity with a Unified Vision or Common Interests

CHAPTER 14

Lessons from the Legend of the No Face Doll: Haudenosaunee Origin Heather Watts

Objectives It is my hope that as you read about the Legend of the No Face Doll you will: • Reflect on your own power and positionality as an educator • Reflect on how your own cultural teachings and value systems show up in your practice as an educator • Gain a better appreciation for Haudenosaunee culture as you center this legend through the implementation of the lesson plan

H. Watts (*) University of Toronto, Toronto, ON, Canada © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_14

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Locating Self as Author She:kon, sewakwe:kon. Kahenta:ke ne yonkyahts. Kanyenkeha’ka ni:i. Waskware:wake. Good day, everyone. My name is Kahenta:ke, which loosely translated, means ‘she is in the meadow’, in Kanyenkeha, the Mohawk language. My English name is Heather Watts. I am a Haudenosaunee woman from Six Nations of the Grand River Territory, and also have family ties to the Mississaugas of the Credit First Nation. I am from the bear clan. I am writing to you today from the positionality of being both an Indigenous person as well as the granddaughter of Robert Watts, of Scottish descent. I am also writing to you from the positionality of a scholar, educator, and mother. I have been in a variety of elementary school settings during my time as a student. I have attended schools under the jurisdiction of Ontario, Canada, a school in Massachusetts, United States, and an on-reserve school under the jurisdiction of the Federal Government of Canada. While each of these settings was unique, the type of knowledge being presented to students was from the same lens. Even in the case of the on-reserve school, there was still an erasure of Indigenous knowledge taking place. Our Mohawk language teacher had a cart for a classroom. A cart. He wheeled from class to class throughout the school day, spending 30 minutes sharing Mohawk language and culture with students. Finding ways to ‘fit’ Indigenous language and knowledge into a colonial education system is not Indigenous education. I have been taught that Western knowledge holds the power to a successful future and that I must work to immerse myself in our traditional knowledge as well. Essentially, I have been taught that I must walk in two worlds, and have been working to engage in acts of resurgence by learning the Mohawk language and taking part in traditional ceremonies. What brings me to this book is the Legend of the No Face Doll. I have very vivid memories of sitting in my elementary classroom at Oliver M. Smith Kawenni:io School, being completely entranced by the stories told to us by our Mohawk teachers, Mr. Green and Mr. Miller. The Legend of the No Face Doll is one story that has stuck with me throughout the years, as these dolls, made from corn husk, have made recurring appearances in several pivotal moments of my upbringing and learning about Haudenosaunee culture.

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Caption: A picture containing A No Face Doll that was gifted to this chapter’s author, Heather Watts.

The Story/proverb/idiom in Detail: Legend of the No Face Doll As Told by Kay Olan, Akwesasne Mohawk

For a long time, the Haudenosaunee have referred to the corn, beans, and squash as the three sisters or the sustainers of life. One of the three sisters, the Spirit of the Corn, was so pleased at having been given this distinction that she asked the Creator to think of something special that she could do to be of further assistance to the people who had so honored her. The Creator suggested that she make a doll from her husk and

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so she did. She fashioned a lovely cornhusk doll with a strikingly beautiful face. She instructed the doll to entertain all of the little children in the villages. The lovely cornhusk doll did as she was instructed. She traveled from village to village telling wonderful stories and playing happy games with the children. All of the people grew to love the cornhusk doll, and they expressed their joy in smiles and laughter. They frequently complimented her on her great beauty. All was well at first, but as time went on and more and more people told the cornhusk doll how lovely she looked, something began to change. The cornhusk doll began to spend less and less time with the children and more and more time gazing at her handsome reflection in the waters of the many lakes, rivers, and streams. She began to think only of herself. Eventually, the Creator called her to the Creator’s lodge. On the way there, she stopped by a pool of water to admire her reflection and in so doing kept the Creator waiting for her arrival. When she finally did enter the Creator’s lodge, the Creator reminded her of her responsibility to the children and cautioned her against spending her time in self-admiration. The Creator warned her that if she did not change her ways, something would have to be done about it. The doll assured the Creator that she would remember her responsibilities, and she returned to the children of the villages. Before long, however, the people reminded her again of her great beauty. She began to spend less time with the children because she became too busy admiring herself. The Creator summoned her again and just as before, the doll succumbed to the temptation of stopping to gaze at her reflection. When she finally arrived at the lodge of the Creator, the Creator expressed disappointment in her behavior. The Creator reminded her of how she had neglected the children because she had become too preoccupied with thoughts of herself and her appearance. The Creator reminded her that she had been created with a purpose and that purpose was to bring happiness to the little children. The Creator told her that she needed help controlling her vanity since she couldn’t do it herself. Then, the Creator instructed the cornhusk doll to leave the lodge and look at her reflection in a nearby pond in order to comprehend the significance of the Creator’s word. She left the lodge, walked to the pond, and looked into the waters. Now she understood. She no longer had a face. The Creator had taken it away. From that time on, the Haudenosaunee did not put faces on their cornhusk dolls as a reminder that vanity can be an obstacle

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preventing us from accomplishing our appointed tasks. The people are also cautioned against placing too much emphasis on superficialities (Olan, 2012). Country of Origin, if possible: Haudenosaunee Territory (now referred to as Southwestern Ontario, Canada, and Upstate New  York, United States of America).

Objective/ Meaning/ Take-Away Message: As mentioned at the onset of this chapter, the Legend of the No Face Doll has stuck with me since elementary school. I have created corn husk dolls myself and have been gifted a custom doll dressed in a mini representation of me in my traditional regalia. When I was gifted this doll, depicted in the photo below, it was in 2006 when I had just won the title of Miss Teen Six Nations, to serve as a community ambassador. When I received the doll, I reflected on what its significance might mean for me in this moment in time. To me, this doll served and continues to serve as a reminder that no matter what accolades I achieve, how many degrees I obtain, or how much my curriculum vitae may grow, it is how we treat others that matters. We can be, and should be proud of ourselves for our accomplishments, but not overly proud where we may dismiss others or our own responsibilities. Currently, I reflect on what this doll teaches me as a mother, as an educator, and as a leader in my community. I have had the privilege of attending a number of post-secondary institutions to study in the field of Education. Throughout these experiences, I have travelled with this doll. When I have feelings of pretentiousness, or an over-exaggeration of self-importance, I remember that this doll calls on me to remember my role and to be grateful for the opportunities placed before me. As an Indigenous woman, I am very much aware of the number of us who are not afforded such opportunities; to travel, to see the world, to study what we want and where we want. This doll has humbled me and has always served as a great reminder to share these lessons with my students, as well as my son. These dolls have served as reminders of lessons in humility and striking a balance between care for self and care for community. Some additional key messages from the Legend of the No Face Doll include:

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• striking a balance between care and love for self and care and love for community, • celebrating parts of our identity we are proud of, and • being a person of your word, following through with your responsibilities. As educators, we possess great privilege. Often times, we may feel bogged down by the weight of responsibilities that are placed upon us: professional development, report card writing, classroom management, lesson planning, data analysis, etc. We must remember that we have the honor of being in the position of impacting a young person’s journey. People are trusting us with their children.

One of my professors from Syracuse University shared these words in a seminar during my semester of student teaching. I remember him being overcome with emotion as he spoke to us. These are words that I have carried with me during my time as an educator. We have an opportunity to not only share curriculum with students but also lessons from our own lived experiences and to give our students windows into other cultures and value systems. Other Considerations for Lessons There is often an over-emphasis placed on the storytelling or delivery aspect of legends and stories. A component of equal, if not more importance is the dialogue sparked by the hearing of the story and what understandings can be built in community with one another. A talking circle format allows for collaborative and meaningful dialogue and breaks free from the need to stay within discussion parameters (Osborn, 2003). A talking circle typically consists of full group participation, wherein a question or prompt is posed and everyone gets a chance to respond, without interruption or “rebuttal.” There can be several rounds of talking circles and typically, participants pass the speaking role onto the next person with a physical object such as a stick or object of significance to the group. Another way to integrate this legend into curriculum is through social and emotional learning. Students may be given the opportunity to think through what choices the corn husk could have made, in addition to other

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folks highlighted in the story. An extension activity to think through the corn husk doll making amends with her community and with the Great Spirit may also leave students with a feeling of optimism regarding the story. One final activity for consideration is within the scope of identity exploration. Creating space for students to celebrate parts of their identities they are proud of and appreciate can take place in both individual reflection and group conversation. Have students engage in the process of striking a balance between pride for self and creating space for others to express their self-pride as well. This could evolve into having students express what they appreciate about one another as a way to honor everyone.

Debriefing Questions for Younger Children (Elementary): • What mistakes did Corn Husk Doll make in this story? What could she have done differently? • What jobs do you have in your classroom or in your home? How might your classmates or family members feel if you chose not to do those jobs? • How do you think the community members felt when Corn Husk Doll was not following through with her jobs? • In this legend, the Corn Husk Doll is very proud of her beauty. What are parts of you that you are proud of? Let’s take a moment to celebrate these things.

Debriefing Questions for Older Children (Middle/ Secondary): • Many Haudenosaunee stories are originally told in traditional languages. What might be lost or possibly gained in the translation of these stories to languages such as English and French? • Indigenous knowledge is sometimes referred to as “traditional knowledge” with some people viewing it as unchanging knowledge based solely in the past. Instead, it is “an adaptable, dynamic system based on skills, abilities, and problem-solving techniques that change over time depending on environmental conditions” (Battiste, 2005).

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Given this understanding, is there room for these stories to evolve or just for our interpretations to evolve? • In this story, and several other stories of Haudenosaunee origin, there is a lesson of “if you do x, than y will happen to you.” What role does fear play in this story? How might this have larger implications in relation to cultural norms and values? • Something beautiful about stories being passed down through oral tradition is the several iterations that come into existence based on how one receives the story. What might be some challenges with stories being passed down orally?

Why and How Section: The Work of Reconciliation in Our Learning Communities In 2015, the Truth and Reconciliation Commission of Canada published a final report summarizing their work in engaging survivors in sharing their stories, hosting nation-wide and regional truth-telling events, and of course, 94 detailed calls to action. Call to Action 62, listed under the “Reconciliation for Education” heading calls upon governments and places of learning to work in consultation and collaboration with Survivors, Aboriginal peoples, and educators, to make age-appropriate curriculum on residential schools, treaties, and Aboriginal peoples’ historical and contemporary contributions to Canada (Truth and Reconciliation Commission, 2015). While the work of the Truth and Reconciliation Commission does not pinpoint to the origin of decolonizing curriculum efforts, this Call to Action is a pivotal moment in the journey of Reconciliation and serves as a reminder that educators have the responsibility to learn and teach Indigenous history and ways of knowing. As Justice Murray Sinclair stresses, Reconciliation is not an Indigenous problem. Reconciliation is the work of every single Canadian (Truth and Reconciliation Commission, 2015), and might I add, every single educator. Part of our responsibility as educators is to have a holistic understanding of the history of the territory you teach in and to communicate that understanding when working with students. James Miles (2018) in the article, “Teaching History for Truth and Reconciliation: The Challenges

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and Opportunities of Narrativity, Temporality, and Identity,” states that “educators of history are uniquely implicated in the TRC’s Calls to Action through the responsibility to teach Indigenous history” (p. 43). I would extend this implication further to include all educators, regardless of content area or position within the system. While Indigenous activist and leader Arthur Manuel (2017) writes “I do not fault the average Canadian for their ignorance because the very basis of Canada’s relations with Indigenous peoples has been wrapped in falsehoods” (p. 62), I question what the expiry date on this is. When is it reasonable to expect the “average Canadian” come to terms with these falsehoods and work to dispel them? As educators, we teach what we know. If we know what we know is inherently wrong or flawed, that is what we teach to the next generation. This is why the inclusion of legends, tales, and stories from various origins is so important. We can work to reclaim space within our classrooms and center knowledge that is often minimized or erased. To commit to Reconciliation is to commit to engaging with truth, to commit to unlearning. The unlearning that must take place dates back to the very origin story of Canada. Our national story of origin is a gross misrepresentation of the history on this land and the relations between Indigenous peoples and settlers. How can one group of people “discover” a territory that already has inhabitants? Terra nullius, which is found in the law of first possession states “What presently belongs to no one becomes by natural reason the property of the first taker” (Watson 1985 as cited in Mackey p.  45). If land was not perceived to be under the control of “humans” according to the standards of colonizers, the land was perceived to be unowned and free for the taking (Mackey, 2014, p. 52). To summarize, as a nation, our origin story, and many stories that we are told along the historic timeline of Canada are incorrect. This is problematic. It is an act of erasure toward Indigenous peoples. We are living in a narrative that is built on a lie. If we are to become the nation we so often present to the world, we must create the necessary conditions for Reconciliation with Canada’s first peoples (Mahoney, 2016, p.  29). It begins with education. Specifically, it begins with educators unlearning, rejecting falsehoods, and re-learning a history that is grounded in truth. We must be the change we wish to see in our education system.

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I also feel compelled to make a few comments regarding Indigenous students, specifically. We must also be mindful of the Indigenous children we have looking up at us as we engage with them in classrooms, in our longhouses, in our community spaces. We must show them the ancestral genius they come from; the ingenuity; the knowledge systems that have guided our people since time immemorial. They need to know they come from strong grandmothers and grandfathers, and that their strength lives inside of them. We must commit to fighting against every ounce of colonial education that seeks to destroy their spirit or tell them that they’re not smart enough. We must commit to engaging in critical conversations about the history of our people, so our children understand their positionality in the racialization of Indigenous peoples. Simply stated, they must understand that they are not inherently bad or lesser because they are Indigenous. Our children are gifts. In closing, I am hopeful that we are at a point in time where we have an opportunity to reshape and to transform our relations with one another. We are called upon from the teachings of the land and teachings of our ancestors to think about the next seven generations: the faces yet to come. We cannot replicate the mistakes of the past and let another generation pass us by with missed opportunities for growth, for connection, for learning, and for forging new paths. Every day, we are fighting against the fibres of colonization that are still very must present in our society. Let us be mindful that colonization is a structure, not an event, and reflect on how these fibres might be finding their way into our communities.

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Appendix Activity Plans Our Role in the Community

Subject(s): Social Studies LEARNING EXPECTATIONS: SWBAT identify the role they play in a variety of community settings (school, home, neighbourhood). SWBAT understand that there may be disruption, and hurt feelings when we do not uphold the duties of the role in our community settings. Focus Questions: What is my role? Why is my role important? Essential Questions:

• •

What jobs do you have in your classroom or in your home? How might your classmates or family members feel if you chose not to do those jobs? How do you think the community members felt when Corn Husk Doll was not following through with her jobs?

RESOURCES/MATERIALS: Vocabulary Responsibility: Responsibility means being dependable, making good choices, and taking accountability for your actions. A responsible citizen looks out for the well-being of others and understands we all have a part to play in making the world a better place. Historical Context Needed/Overview: Refer to Legend of the No Face Doll Materials Needed: Legend of the No Face Doll (printed out), poster paper & poster markers

GROUPINGS:

 Students working as whole class

 Students working in Pairs  Students working in small groups

 Students working individually

262  TIME:

H. WATTS Activity Description and Details:

1 block Introduction of 50-60 [5 mins.] minutes Posted on board: Responsibility Have older students (Grades 3-5) brainstorm what responsibility means to them and write their thoughts in a journal. For younger students, pose this question to them orally and give them think time to reflect. Discussion: What does the word responsibility mean to you? Include a definition for the class after the discussions. Teacher scribes student responses. .

Responsibility: Teacher Model [10 minutes] We all have different roles and responsibilities depending on where we are, who else is there, and what we are doing! For example, when I am here at school, I am Ms./Mr/etc. ___________, and my responsibility is to make sure that you are all safe, and that you are learning each and every day. When I am at home, (teacher shares specific role at home whether they are a parent/guardian, care for a pet, care for self, etc.) When I am ______ (perhaps an extracurricular activity, or another space the teacher is part of), my responsibilities are to ______________. Now, in all of these spaces, if I were to forget my responsibilities, or choose not to do my job, it could affect other people in a big way. How might you feel I chose to not ensure you are safe at school? (student responses). Responsibility: The Corn Husk Doll [15 minutes]

TEACHING/LEARNING STRATEGIES:                    

Debate Oral Presentation Reader’s Theatre Role Playing Discussion Interview Literature Circles Think/Pair/Share Advance Organizer Book Talks Conferencing Guided Reading Guided Writing Independent Reading Portfolio Reading Response Reflection Response Journal Brainstorming Other: _______________

ASSESSMENT STRATEGIES:               

Classroom Presentation Conference Essay Exhibition/Demonstration Interview Learning Log Observation Performance Task Portfolio Question and Answer (Oral) Quiz, Test, Examination Response Journal Select Response Self-Assessment Other: _______________

14  LESSONS FROM THE LEGEND OF THE NO FACE DOLL… 

Now, let’s take some time to think about the story we listened to, The Legend of the No Face Doll. In partners, we are going to do some Think-Pair-Share work. Let’s think: -what were the Doll’s responsibilities? Have students pair up and speak their thoughts to their partner. Have 1-2 pairs share their responses aloud. Let’s think again: -what kind of choices did the Doll make to keep or not keep her responsibilities? Have students pair up and speak their thoughts to their partner. Have 1-2 pairs share their responses aloud. Let’s think again: -how did the Doll’s choices make others feel? Have students pair up and speak their thoughts to their partner. Have 1-2 pairs share their responses aloud. Responsibility: Students [15 min] Students will now reflect on their own responsibilities based on communities they are a part of. For Grades 3-5, students can create a three-column chart with the headings “School, Home, _____” and brainstorm their responsibilities through writing. For younger students, this might be done in small groups or half groups, where adults can support the discussion. After students have finished their brainstorming, come back whole group. Whole Group Reflection [10 min] We have all taken some time to think about the responsibilities we have in different communities.

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Ask for volunteers to share what their different responsibilities are. Reflect as a group on this question: • How might your classmates or family members feel if you chose not to do those jobs? To close, ask students why it is important to uphold their responsibilities in their communities and ask how we as a class can help each other in doing this.

ACCOMMODATIONS: Intentional pairings may be prepared by the teacher ahead of time.

MODIFICATIONS: Different Lexile versions of the Legend of the No Face Doll could be made available for students.

HOMEWORK: Pre-Homework could serve as a support for all students to engage in this conversation. On the evening prior to this lesson, ask students to reflect (with their families/guardians) on this question: What responsibilities do you have?

• • •

At home? At school? In your neighbourhood/community?

TEACHER REFLECTIONS:

ASSESSMENT RECORDING DEVICES:     

Anecdotal Record Checklist Rang Scale Rubric Other: Journal Entry

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References Battiste, M. (2005). Indigenous knowledge: Foundations for First Nations. WINHEC: International Journal of Indigenous Education Scholarship, 1, 1–17. Mackey, E. (2014). Unsettling Expectations: (Un)certainty, Settler states of feeling, Law, and Decolonization. Canadian Journal of Law and Society, 29(2), 235–252. Mahoney, K. (2016). The Roadblock to Reconciliation: Canada's Origin Story. Canadian Issues. Manuel, A. (2017). The Reconciliation Manifesto: Recovering the Land, Rebuilding the Economy. James Lorimer and Company Ltd., Publishers. Miles, J. (2018). Teaching History for Truth and Reconciliation: The Challenges and Opportunities of Narrativity, Temporality, And Identity. McGill Journal of Education (Online), 53(2), 294–311. Olan, K. (2012). Legend of the No Face Doll. Hodinohso:ni Art Lessons, 4. Osborn, D. (2003). Talking circles: A pathway to trust and reflection. BC School Counsellors. Truth and Reconciliation Commission of Canada. (2015). Truth and Reconciliation Commission of Canada: Calls to action. McGill-Queen’s University Press.

CHAPTER 15

The Story of Ni3mah: A Palestinian Folktale Aida Al-Thayabeh

Objectives • To explore Palestinian culture and experiences • To compare, contrast, and make connections to themes • To determine and explain the central lesson and take away

Locating Self as Author My name, Aida, derives from the root word Aidoon/Ayadoon, which translates to “return.” My name carries a burden and legacy of colonialism and the hope that Palestinians will have the “right of return” to Palestine. I identify as an Afro-Palestinian Muslim woman. My baba (father) is a Black Afro-Palestinian, and my mama is a light-skinned Afro-Palestinian. Both parents fled the colonial occupation of Palestine to become refugees in neighboring Jordan, where their oppression continued as they witnessed the genocide of Palestinian refugees. Years later, they immigrated to Canada to only further experience structural and institutional racism.

A. Al-Thayabeh (*) University of Toronto, Toronto, ON, Canada © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_15

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I grew up in a household where my baba insisted that I watch and read the news of our community and that of all oppressed and colonized peoples. Politically, I grew up attending and organizing protests supporting Black and Indigenous communities, both locally and globally, against imperialism and colonialism. Here, I learned that the Palestinian people’s plight, oppression, and suffering were interconnected to other oppressed peoples. At an early age, I understood that it was my duty and social responsibility to align myself with the struggle and suffering of others to decolonize, disrupt, and dismantle the status quo. Academically, I am currently an elementary school teacher with the Waterloo Region District School Board (WRDSB) and pursuing my doctoral degree (Ph.D.) in Social Justice Education at the University of Toronto. I use my privilege and power to disrupt and dismantle white supremacy, decolonize mindsets, and integrate global Indigenous and Afrocentric knowledge in the classroom and my research. As an Indigenous, Afro-Palestinian, Muslim woman, my role is to guide, not teach. I use my prior experiences, knowledge, and education to support and guide in solidarity with similar or shared stories of oppression, violence, pain, and trauma. I also choose to use my stories and knowledge to plant seeds of resistance and hope so that students, both present and future, no longer experience racism, discrimination, and oppression.

The Folklore Tale The Story of Ni3mah, A Palestinian Folktale Enunciation: The 3 represents the letter (‫( )ع‬aiyn) in Arabic and produces a pharyngeal fricative sound made by making a deep constricting sound in the throat when saying the letter “a”. Similar to saying “ah” but with a deeper throat sound.

Long, long ago, a poor fisherman lived in a shack with his wife and children. Every day he would try to go fishing to support his family and return home with nothing. The fisherman prayed every day that his luck would change and be gifted fish to feed his family. One day the fisherman went to his regular fishing spot and noticed an old lady sitting by his boat. The fisherman was puzzled why the old lady was sitting there and asked, “who are you and why are you sitting here?” The old lady replied, “my name is ‫( نعمه‬Ni3mah), and I have no home nor food. Can you please help an old lady?” The fisherman looked at the

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old lady and said, “I do not have much, but I will take you home and feed you.” The fisherman took the old lady to his home, where his wife and children welcomed their new guest. They did not have much to offer, simply zayt wa za3tar (olive oil and zaatar). To the old lady, this was a feast, and she was grateful for the fisherman and his family. Early next morning, the fisherman woke up to his usual shay and ka3ik (tea and biscuits) routine for breakfast before going fishing for the day. To his surprise, the old lady was waiting by the door. “Good morning, fisherman. I wish you the greatest ni3mah today in your fishing adventure,” she said. The fisherman was confused but replied, “good morning and thank you.” That day was no different from any other day. The fisherman got into his boat and sailed off into the sea. He put his fishing line in the water, and then he felt a tug. He had caught his first fish in many, many months. He quickly put his fishing line back into the sea and caught another and another, and soon his entire boat was filled with fish. He could not believe his luck and rushed home to share his incredible bounty with his family. The fisherman and his family were filled with joy and happiness and feasted on the fish. The family had so many fish that they shared their bounty with the old lady and neighbors. The fisherman turned to his family and said, “I am grateful for this ni3mah.” The next day, the fisherman woke up to the old lady waiting at the door with his morning shay and ka3ik (tea and biscuits). Once again, she said, “good morning, fisherman. I wish you the greatest ni3mah today in your fishing adventure.” He looked confused with her morning greeting but replied, “good morning and thank you.” Days passed, and the fisherman returned home with his boat filled with fish. Once again, the family feasted on fish and shared with the old lady and all their neighbors. Before going to bed, the fisherman said, “I am grateful for this ni3mah.” The following days the fisherman returned home with another boat filled with fish, but his family grew tired of eating fish every day. They decided it would be best to start selling the fish to buy different food. Off the fisherman went, every morning he was greeted at the door by the old lady with shay and ka3ik (tea and biscuits) and a “good morning fisherman, I wish you the greatest ni3mah today in your fishing adventure.” He always seemed confused, but he replied, “good morning and thank you.”

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Months went by, and the fisherman now owned large ships for his successful fishing business. Many things had changed for the fisherman and his family. They lived in a large home and had tables filled with all sorts of food from around the world. However, the old lady did not change. She remained by the door and greeted the fisherman every morning with his shay and ka3ik (tea and biscuits) and a “good morning fisherman. I wish you the greatest ni3mah today in your fishing adventure.” Years went by, the large ship became larger, the one business became many businesses, and the one house became many houses. However, the old lady did not change. She remained by the door and greeted the fisherman every morning with his shay and ka3ik (tea and biscuits) and a “good morning fisherman. I wish you the greatest ni3mah today in your fishing adventure. By now, the fisherman was so busy that he no longer had time for shay and ka3ik (tea and biscuits). He began to ignore the old lady and walked past her with not even a good morning or thank you. The fisherman no longer shared his abundance of fish with his neighbors, and many complained about his unkind ways. The fisherman tripped on the old lady’s dress as he rushed to work one day. The fisherman was angry, “watch it! I could have hurt myself.” “I am sorry,” said the old lady softly. “Listen, there is no need for you to be here anymore. I will buy you a new home, and you can live alone away from here. You are simply in the way,” he said. The old lady looked up at the fisherman and softly replied, “there is no need for you to buy me a new home. Please take me back to where you found me.” “Fine!” answered the fisherman, “then let us go now as I have a busy day ahead of me.” The fisherman returned the old lady back to the sea where his old boat used to be. The next day, the large fishing ships began to bring in fewer fish. Weeks passed, and the fish seemed to disappear. The fisherman started to sell his large ships, many businesses, and many homes. Months passed by, and soon the fisherman had nothing except a small shack. The fisherman was so distraught about how he could lose all his riches and be back to living in a shack. He went back to the sea looking for the old lady in hopes that she could help him again. But she was gone, and so was the ni3mah.

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Debriefing Questions • What is the purpose of teaching and passing along folklore tales? • Why do you think folklores can be a valuable form of expressing someone’s identity, culture, and traditions? • How do folklore tales reflect a sense of community? • Where do you see similarities and connections between folklore tales from around the world? (Answers: students to make connections with the global community) • Do you think storytelling is a more powerful tool for learning lessons/social messages?

Why and How Section During pre-colonial times, storytelling carried immense importance, value, and sacred traditions that helped maintain communities and passed along traditional ways of knowing. Traditions of orality never went away. Instead, it was silenced, suppressed, and made to be inferior to Eurocentric ways. One of the deliberate colonial tactics used against the colonized was the removal or dehumanizing of culture and language. In doing so, the colonizer achieved assimilation in many cases and, most importantly, embedded a deficiency in the mind and spirit of the colonized (Wa Thiong’o, 1985; Fanon, 1967; Said, 1979; Dei, 2002; & Wane, 2006). Wa Thiong’o (1985) argues, “To control a people’s culture is to control their tools of self-definition in relationship to others… The destruction or the deliberate undervaluing of a people’s culture, their art, dances, religions, history, geography, education, orature and literature, and the conscious elevation of the colonizer’s language” (Wa Thiong’o, 1985, p.16). As an educator, I advocate for small, ongoing acts of resistance, including integrating storytelling, folktales, and other forms of traditions of orality in the classroom. The Eurocentric learning methodology often requires students to define, memorize, and produce a written document. The problem with this methodology is that students will often make surfacelevel connections and forget the definitions. Furthermore, as stated in the lesson plan, I have intentionally and purposefully focused on the process and removed any writing requirements to disrupt and dismantle the white supremacy methodology of assessing students. Battiste (2013) writes, “critical education and anti-oppressive education begins with an unpacking of Eurocentric assumptions of education, the normalized discourses,

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discursive practices, norms surrounding whiteness measure for success or failure, rewards for whiteness and ‘other’ not so much” (Battiste, 2013, p.  106). Battiste (2002) argues that Indigenous culture is different in comparison to the Eurocentric framework as: Indigenous knowledge comprises the complex technologies developed and sustained by Indigenous civilizations. Often oral and symbolic, it is transmitted through the structure of Indigenous languages and passed on to the next generation through modelling, practice, and animation, rather than through the written word. Indigenous knowledge is typically embedded in the cumulative experiences and teachings of Indigenous peoples rather than in a library. (Battiste, 2002, p. 2)

Thus, using folktales allows students to see beyond the classroom and use their imagination to learn about social messages and develop a sense of community with others around the world. The Story of Ni3mah teaches students about gratitude, empathy, and mindfulness without directly naming these social messages. Furthermore, it embeds in students the idea of collectivism and our responsibilities to one another and the global community. Using traditions of orality such as storytelling, mini-conferences, debates, town hall meetings, large and small group discussions, poetry slams, or open-mic sessions are all ways of embedding oral tradition in the classroom. In this example, I deliberately chose a drama tableau that uses movement and orality to reinforce that sense of community building and pass along traditional ways of knowing.

Country of Origin Palestine.

Meaning/Take-Away Message The meaning behind The Story of Ni3ma is about self-reflection and community. The word ni3mah in Arabic can have multiple meanings, such as appreciation, abundance, blessing, bounty, a good thing, gratefulness, thankfulness, goodness, or love. In the story, the fisherman always keeps a positive outlook on life. Although he has minimal material possessions, he has abundant of love, care, and compassion for his family and community. He begins each day by centring himself by showing gratitude and

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appreciation for his life’s blessings. The fisherman’s mindset becomes negative when he lacks self-reflection and loses his perspective on being grateful and appreciative. As his mindset shifts, so too does his actions, and he morphs into an unkind and uncaring person lacking empathy and compassion. Everything around him falls apart because of his lack of mindfulness to self-reflect. Thus, his mindset reflects his life. Using oral traditions is especially important and relevant to supporting classroom diversity by integrating global Indigenous community practices. Embedding traditions of orality support student well-being, their communities and foster a classroom rooted in celebrating their identities, traditions, and ways of knowing. The Story of Ni3mah teaches students to understand that community and self-reflection cannot come from definitions in textbooks but experiences connecting to the land, community, and ancestors. Being part of a diaspora has forced many, including myself, to feel disconnected from our homeland, culture, traditions, language, and community. However, listening to and sharing stories like The Story of Ni3mah folktale, passed down from generations, can foster connections to the land and ancestors. The fisherman story is a tale that has been passed down from many generations in my family. As a child, my mother did not read bedtime stories from books. Instead, she would share her knowledge of tales from her mother and grandmother. When my mother would share these stories, I recall that she added so much voice, action, and detail that allowed the story to come to life. As a child, each time she told the story, I would imagine myself in a different scene. Sometimes, I would be on the boat fishing with the fisherman, listening to the waves crashing and smelling the sea. Other times, I would imagine sitting at the dinner table enjoying shay (tea) and ka3ik (biscuits) and envision my sittee (grandma) next to me. As an adult, the story evolved to have a different meaning. I sadly no longer imagine having shay and ka3ik with my sittee. Instead, I feel a necessary obligation to protect and pass along storytelling traditions. For my mother, community, and ancestors, these tales are not simply stories but ways of knowing and passing along knowledge for future generations to have a sense of identity and belonging. When my mother shares these stories, she shares a part of herself and all her ancestors. Thus, oral stories are not merely words but a form of resistance to reclaiming our traditional ways, narratives, and power. As an Indigenous Afro-Palestinian Muslim woman, I see myself interconnected with all oppressed, colonized, and global Indigenous

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communities. I believe that we can be free from colonial rule only through our interconnectedness, collectivism, and supporting one another. I look to oppressed communities and find solidarity in their continued everyday resistance to colonialism, racism, white supremacy, and all forms of oppression. Fanon (1967) writes, “Each generation must discover its mission, fulfill it or betray it, in relative opacity” (Fanon, 1967, p. 145). As an educator, I have no choice but to perform small acts of resistance to protect and ensure the safety and well-being of my present and future students. As Fanon argued, it is up to the colonized who must carry on their struggles to be free from colonial rule. I use folktales, storytelling, and other traditional forms of orality in my classroom, as a form of cultural resistance to the white supremacy framework embedded in the educational system. Thus, I will continue to resist, not only for Palestinians and Palestine but also for all oppressed and colonized communities, to protect the students of today and of tomorrow.

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Activity Plan Subject(s): Language Grade: 6 LEARNING EXPECTATIONS: Oral: 1.2 Active Listening Strategies 1.4 Demonstrating Understanding 1.7 Analysing texts 2.2 Interactive Strategies Reading: 1.1 Variety of Text 1.3 Comprehension Strategies 1.4 Demonstrating Understanding 1.6 Extending Understanding Learning Goal: We are learning to explore oral tradition and make self and realworld connections to Palestinian folktale and the importance to culture and community. Success Criteria • I can apply my prior knowledge to think, inquire and make connections • I can draw connections with various texts, situations, and issues • I can explain how making the connection helps me relate to real-world events and situations

TIME: Activity Description and Details: Minds On: Read aloud The Story of Ni3mah: A Palestinian Folktale After reading or showing the video, allow students to “turn and talk” to reflect on some wonderings or notices with a partner – share with the whole group. Ask: What did you notice? What do you wonder? Who are the main characters? What were their roles? What was the meaning, lesson, or takeaway behind the story? Where was the setting? Describe setting details.

.

Connecting with prior knowledge: Ask students if they know what folklore is? Have students write answers on sticky notes and place them on the whiteboard or use whiteboard markers to generate different responses. Get students moving and thinking. Discuss as a class some other key terms, such as: moral, lesson, social message, non-literal meaning, oral tradition,

RESOURCES/MATERIALS:

• • • • • •

Chromebook Anchor chart paper/whiteboard (class or individual) Whiteboard markers, paper markers Sticky notes Books, videos (see resources) Optional: Paper, scissors, colouring tools

GROUPINGS:

 Students working as whole class

 Students working in Pairs  Students working in small groups

 Students working individually

TEACHING/LEARNING STRATEGIES:                   

Debate Oral Presentation Reader’s Theatre Role Playing Discussion Interview Literature Circles Think/Pair/Share Advance Organizer Book Talks Conferencing Guided Reading Guided Writing Independent Reading Portfolio Reading Response Reflection Response Journal Brainstorming

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A. AL-THAYABEH idiom, and proverb. Discuss the differences between fairytale, folklore, and proverb. Record student responses, observations, interpretations, and wonderings for all to see to allow students to return to during the lesson.

 Other: _______________

Hands On: Modelled Before reading The Story of Ni3mah, familiarize students with some new vocabulary: - enunciation of the letter (‫( )ع‬aiyn), zayt wa za3tar (olive oil and zaatar), sittee (grandma), shay and ka3ik (tea and biscuits), ni3mah (appreciation, abundance, gratefulness, a good thing). While reading the story, discuss themes that are emerging. After reading, use “turn and talk” and allow students to reflect on themes. Share reflections as a whole class and record idea(s) on whiteboard/chart paper. Large Group: Introduce and explain what a tableau (drama) looks, sounds, and feels like. Show students the video for visual reference (some students may have prior knowledge). Fairytale Tableau Example Shared: Place students in groups of 4-5. Provide each group with a copy of The Story of Ni3mah, either on paper, online link, or displayed in front of the class. Sections or scenes have been created below as a guideline only. Have students recreate the scene using body placement, facial expressions, and props (if available). Be sure to tell students that when creating a tableau, they need to remain silent and in a freeze-frame of the story, like a picture. Select a volunteer to narrate each section. Section 1: Long, long ago, a poor fisherman lived in a shack with his wife and children. Every day he would try to go fishing to support his family and return home with nothing. The fisherman prayed every day that his luck would change and be gifted fish to feed his family. Section 2: One day the fisherman went to his regular fishing spot and noticed an old lady sitting by his boat. The fisherman was puzzled why the old lady was sitting there and asked, "who are you and why are you sitting here?" The old lady replied, "my name is ‫( ﻧﻌﻣﮫ‬Ni3mah), and I have no home nor food. Can you please help an old lady?" The fisherman looked at the old lady and said, "I do not have much, but I will take you home and feed you." Section 3: The fisherman took the old lady to his home, where his wife and children welcomed their new guest. They did not have much to offer, simply zayt wa za3tar (olive oil and zaatar). To the old lady, this was a feast, and she was grateful for the fisherman and his family. Early next morning, the fisherman woke up to his usual shay and ka3ik (tea and biscuits) routine for breakfast before going fishing for the day. To his surprise, the old lady was waiting by the door. "Good morning, fisherman. I wish you the greatest ni3mah today in your fishing adventure," she said. The fisherman was confused but replied, "good morning and thank you." Section 4: That day was no different from any other day. The fisherman got into his boat and sailed off into the sea. He put his fishing line in the water, and then he felt a tug. He had caught his first fish in many, many months. He quickly put his fishing line back into the sea and caught another and another, and soon his entire boat was filled with fish. He could not believe his luck and rushed home to share his incredible bounty with his family. The fisherman and his family were filled with joy and happiness and feasted on the fish. The family had so many fish that they shared their bounty with the old lady and neighbours. The fisherman turned to his family and said, "I am grateful for this ni3mah." The next day, the fisherman woke up to the old lady waiting at the door with his morning shay and ka3ik (tea and biscuits). Once again, she said, "good morning, fisherman. I wish you the greatest ni3mah today in your fishing adventure." He looked confused with her morning greeting but replied, "good morning and thank you." Section 5: Days passed, and the fisherman returned home with his boat filled with fish. Once again, the family feasted on fish and shared with the old lady and all their neighbours. Before going to bed, the fisherman said, "I am grateful for this ni3mah." The following days the fisherman returned home with another boat filled with fish, but his family grew tired of eating fish every day. They decided it would be best to start selling the fish to buy different food. Off the fisherman went, every morning he was greeted at the door by the old lady with shay and ka3ik (tea and biscuits) and a "good morning fisherman, I wish you the greatest ni3mah today in your fishing adventure." He always seemed confused, but he replied, "good morning and thank you." Section 6: Months went by, and the fisherman now owned large ships for his successful fishing business. Many things had changed for the fisherman and his family. They lived in a large home and had tables filled with all sorts of food from around the world. However, the old lady did not change. She remained by the door and greeted the fisherman every

ASSESSMENT STRATEGIES:               

Classroom Presentation Conference Essay Exhibition/Demonstration Interview Learning Log Observation Performance Task Portfolio Question and Answer (Oral) Quiz, Test, Examination Response Journal Select Response Self-Assessment Other: _______________

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morning with his shay and ka3ik (tea and biscuits) and a "good morning fisherman. I wish you the greatest ni3mah today in your fishing adventure." Section 7: Years went by, the large ship became larger, the one business became many businesses, and the one house became many houses. However, the old lady did not change. She remained by the door and greeted the fisherman every morning with his shay and ka3ik (tea and biscuits) and a "good morning fisherman. I wish you the greatest ni3mah today in your fishing adventure. By now, the fisherman was so busy that he no longer had time for shay and ka3ik (tea and biscuits). He began to ignore the old lady and walked past her with not even a good morning or thank you. The fisherman no longer shared his abundance of fish with his neighbours, and many complained about his unkind ways. One day, the fisherman tripped on the old lady's dress as he rushed to work. The fisherman was angry, "watch it! I could have hurt myself." "I am sorry," said the old lady softly. "Listen, there is no need for you to be here anymore. I will buy you a new home, and you can live alone away from here. You are simply in the way," he said. Section 8: The old lady looked up at the fisherman and softly replied, "there is no need for you to buy me a new home. Please take me back to where you found me." "Fine!" answered the fisherman, "then let us go now as I have a busy day ahead of me." The fisherman returned the old lady back to the sea where his old boat used to be. The next day, the large fishing ships began to bring in fewer fish. Weeks passed, and the fish seemed to disappear. The fisherman started to sell his large ships, many businesses, and many homes. Months passed by, and soon the fisherman had nothing except a small shack. The fisherman was so distraught about how he could lose all his riches and be back to living in a shack. He went back to the sea looking for the old lady in hopes that she could help him again. But she was gone, and so was the ni3mah.

ACCOMMODATIONS:

• • • •

Allow student(s) to work at their table or verbally contribute to group Student(s) can use some parts of their body to participate in the activity Can use technology to create an online tableau or construct paper puppets MLL (multi-language learners) – use google translate or provide a visual representation, use hand gestures

ASSESSMENT RECORDING DEVICES:     

Anecdotal Record Checklist Rating Scale Rubric Other: Peer Assessment/Feedback

MODIFICATIONS: HOMEWORK:

TEACHER REFLECTIONS:

Debrief and ASK... • What are some of the big themes found in the Palestinian folktale? (answers might be gratitude, empathy, and mindfulness) • What do you think will happen to the Fisherman and his family? • What is the symbolism of the old lady? Or What does the old lady represent? • If this happened to you, how would you make things better? • What were some challenges in creating a tableau?

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References Battiste, M. (2002). Indigenous Knowledge and Pedagogy in First Nations Education: A Literature Review with Recommendations. Prepared for the National Working Group on Education and the Minister of Indian Affairs Indian and Northern Affairs Canada (INAC). www.usask.ca/education/people/battistem/ikp_e.pdf Battiste, M. (2013). Decolonizing Education: Nourishing the Learning Spirit. Purich Publishing. Dei, G. S. (2002). Rethinking the Role of Indigenous Knowledges in the Academy. Journal of Inclusive Education, 4(2), 111–132. Fanon, F. (1967). The Wretched of the Earth. Grove Weidenfeld. Said, E. (1979). Orientalism. Vintage Books. Wa Thiong’o, N. (1985). Decolonizing the Mind: The Politics of Language in African Literature. Heinemann Educational Books. Wane, N. N. (2006). Is Decolonization Possible? In G. Dei & A. Kemp (Eds.), Anti-Colonialism and Education: The Politics of Resistance (pp. 87–106). Sense Publishers.

CHAPTER 16

The Power of Service in Building Inclusive Communities Sheliza Jamal

Objectives • To develop personal values and ethics in the service of others • To identify the role of community service in personal and character development • To make connections between service, activism, and social change Proverb: Work no Words—48th Ismaili Imam, Mawlana Sultan Mahomed Shah, His Highness the Aga Khan (1877–1957) Full quote: “Today I will give you a small motto and that is ‘Work no Words’”. Labour for the welfare of others is the best way of improving ourselves, because results are sure and certain. If you work for yourselves, you are never happy. This is not a new idea, but this is an outcome of the experience of thousands of years of history”.—48th Ismaili Imam, Mawlana Sultan Mahomed Shah, His Highness the Aga Khan (1877–1957)

S. Jamal (*) University of Toronto, Toronto, ON, Canada e-mail: [email protected] © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_16

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Locating Myself I locate myself as a cis-gender, able-bodied, Muslim woman from the South Asian diaspora in East Africa. My parents were born in East Africa (Uganda and Kenya), and our ancestors came from the state of Gujarat in India. As a Canadian-born Shia Ismaili Muslim woman, I offer gratitude to my faith of Islam for all the blessings bestowed upon me through the teachings of the Prophet (PBUH), the Imams, and the Holy Qu’ran. I acknowledge that I am hosted on Indigenous land that has been occupied by settlers and I continuously work to learn and disrupt oppressive narratives. I acknowledge the histories of my ancestors, both as part of the colonial project and as vehicles to promote colonization. I also acknowledge my role and my own complicity in settler colonialism on Turtle Island. I root my work as a scholar and researcher in the Dish With One Spoon and the Two-Row Wampum Belt treaties grounded in the pillars of peace, friendship, and permanence. As an educator with over 15 years of experience in K-12, adult learning, and higher education classrooms, the work on examining oppression, specifically racism in teacher education, is not only a professional dedication but also a personal endeavour.

The Story Justice and equity for individuals and communities facing oppression is a fundamental value in the faith of Islam. The proverb, “Work no Words”, comes from my faith as a Shia Ismaili Muslim. These words were etched onto the volunteer badges that we wore while volunteering at the Shia Ismaili Jamatkhana (prayer house) and in the community. “Work no Words” is frequently repeated in the name of service to those within and outside the Ismaili community, while carrying out tasks such as cleaning the mosque, preparing hot meals, or running educational programs. “Work no Words” was famously documented in a speech to the Ismaili community by the 48th Imam, Mawlana Sultan Mahomed Shah, His Highness the Aga Khan (1877–1957). These words stem from a long history of service that Ismaili Muslims have practiced, particularly in times of war or unrest. Historically, these duties may have been more aligned with activism and service in the community, such as helping individuals facing poverty, protecting the Imam, and providing social services to the community (Mawani & Velji, 2012). The phrase, “Work No Words”, could be

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misinterpreted as silent obedience, however, the lesson I take away from the embodiment of this phrase is that when we are called to serve, it is your duty to serve. “Work No Words” exemplifies the call to action to serve those facing hardships through our time, resources, skills, and abilities. By serving others, one can develop their character and as well as the values that guide their actions. Through service, one can engage in critical consciousness to unpack social inequality and take concrete steps towards justice (Watts et al., 2011). Ismailis are a part of the Shia branch of Islam, with the other major branch of Islam being the Sunni sect. Ismaili Muslims are a minority sect of Islam with believers spanning across 25 countries and several continents. Their beliefs are grounded in the succession of a hereditary guide or Imam from the Prophet Muhammed (Budhwani & McLean, 2012). Mawlana Sultan Mahomed Shah, Aga Khan III was the hereditary Imam, or spiritual guide of the Shia Ismaili Muslims. He became the successor to the Imamat when he was just shy of eight years old after his father passed away. His life was dedicated to serving the Ismaili community in both religious and secular matters. As guide of both secular and religious matters for Shia Ismaili Muslims, the Imam was grounded in the ethics of Islam and the teachings of Prophet Muhammad (PBUH), and the Holy Qur’an (Dewji, 2018). These teachings were rooted in human rights and justice, the right to dignity and integrity for all human beings (Islamic Publications Ltd, 2021). The role of the Imam as embodied today by the 49th Imam, His Highness the Aga Khan IV is not only to serve the Ismaili Community, but also humanity at large (Budhwani & McLean, 2012). The Ismaili Volunteer Corps (IVC) was formed by the Aga Khan to serve the community with programming and advocacy related to health care, education, and social welfare. From its inception, the IVC has transformed to serve communities across the globe despite their faith (Islamic Publications Ltd, 2021). Children, youth, adults, and seniors are all part of the volunteer corps and there is training and mentoring for all the required roles. This training is conducted by other volunteers who have been in the roles previously or who are tasked as volunteer leads. There are several programs available to participate and volunteer in, such as job skills training, personal development, religious education, and social welfare programs. Women hold equal roles in the IVC and are encouraged to take on leadership roles (Budhwani & McLean, 2012). The Ismaili community is quite diverse with many cultural and linguistic traditions. Through service, the goal is to bring Ismaili communities with differing traditions and

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practices together. Budhwani and McLean (2012) write that for Ismailis, volunteer work has “the ultimate goal of voluntarily serving the Ismaili Imamat and community, the Muslim Ummah, and all of humanity by following the guidance of their Imam” (p. 269). As a young IVC member, I volunteered in the Jamatkhana as well as at community outreach events such as the World Partnership Walk that raised funds for international development, water treatment facilities, and schools for young Muslim children called Madrasas. From a young age, I learned that giving my time and resources was critical to the development of strong communities. I may not have realized it at that time, but the values of community, service, and justice were being rooted into my identity. This value crossed over into all aspects of my life as I volunteered for the Multiple Sclerosis Society, Habitat for Humanity, local theatres, and much more. Service has been an integral part of my life instilled by my faith. Service can take many forms; to serve means to bring people together for greater humanity and to give of your time or resources. In today’s context, to me this service means promoting issues of social justice and equity. Growing up in a predominately White neighbourhood as a ‘brown’ Muslim girl had its challenges. I struggled to figure out my identity and to find a sense of belonging within the greater community. I played a balancing act between my school life and my spiritual life; I was constantly code switching to gain acceptance. One thing that grounded me was my faith because it was the only constant through the ups and downs of adolescence. Through service, I was able to learn more about myself and the communities that I was serving. By volunteering in homeless shelters, I learned to be grateful for the privilege of having a roof over my head. I learned that every dollar I raised would go towards clean water programs, and most importantly, I grew to understand my values. My community gave me a purpose and something to belong to as I navigated the world around me. What I learned through service and volunteerism primed me to take on leadership roles, both formally and informally in the community. My hyphenated identity has often left me searching for a sense of belonging across many social identity groupings including race, religion, and gender. As a teenager searching for identity, my community became my anchor. I attended prayers regularly and Friday prayers were mandatory. Inspired by my parents I got involved in the junior volunteer corps with duties such as helping seniors, handing out meals, and cleaning the prayer house. As an adult, I continued to do this work “non-badged” and

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out of my volunteer uniform in service of all the communities that surround me. The words, “Work no Words” echo in my mind as I think about the work I do within and outside of the Muslim community grounded in justice for those facing oppression My experiences with service crossed over into the classroom. In 1997, my classmates and I were devastated by the murder of Reena Virk, a 14-year-old South Asian girl from Duncan, BC. Reena had been bullied and then killed by her White classmates. Her death felt too close to home and kept me up at night. As a group of Grade 11 drama majors at a local fine arts high school, we responded to this tragedy by writing a play called Bully 4 You about what we called bullying at the time and what we now know is racism. The theatre had great power to transmit culture, values, and teachings to others; it has the power to make people feel seen and heard. The stage became yet another environment where I used service and advocacy in the name of community. The values of service and justice instilled in me through my faith followed me into many career pathways. As an educator and a changemaker, I am always seeking opportunities to build communities and create a sense of belonging for others. Throughout my career as an educator, the values of service led me to consider youth that had been dismissed as behavioural and “at risk”. I prefer to refer to these students, aged 18–21 as opportunity or promise youth. Through alternative school programs, I was able to engage youth in activism through the stage and through service. Students were able to share their stories and debunk the myths and biases that had been following them. Service in the name of community is a key function of driving equity to foster inclusion and justice in our society. “Work no Words” is about recognizing one’s ability to serve. Through my leadership roles, I recognize the privilege that I have in certain spaces and leverage my privilege in the service of others. For example, as a Canadian-born woman, my education provides me access to many opportunities that others may not have. I use this privilege I have to teach, mentor, and advocate for others, I see the proverb, “Work no Words”, as a call to action to do what is morally and ethically right but also to simply take action and move from stagnancy to commitment. The teachings from my family and community shaped the person I am today. I now have the experience and social capital to be able to continue my service in a way that brings people together for the purpose of social change. Rather than staying silent or complacent, “Work no Words” guides us to give back to our communities in the name of service. This

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service can look like civic engagement and social change, both of which are rooted in moral imperatives. Serving the greater community benefits us all. My faith grounds my work as an educator, activist, and artist is rooted in social justice and equity. The values of service and volunteerism have been so deeply ingrained in my sense of identity that they are now inseparable. Individuals coming together with a shared interest, is the key to community healing and liberation and healing. Through service, we can build communities, develop our character, and advocate for change (Ginwright et al. 2006).

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Activity Plan Lesson: Building Community through Service (Grades 6-12) (This lesson can be adapted and used for grades K-12).

Subject(s): Community, Identity, Service LEARNING EXPECTATIONS:

RESOURCES/MATERIALS:

In this lesson, participants will develop an understanding of how service and volunteerism are forms of advocacy in a community.

Laptop, Notebooks

- Demonstrate an understanding of the terms service, volunteerism, and community - Identify the connection between service and community building - Identify what community and service mean to you -Make connections between service, activism, and social change - Apply the concepts of service and volunteerism to engage in community building Activity Description and Details: Minds On: 1. Show the Ted Talk: Why it is important for kids to volunteer | Kofoworola Jolaoso After viewing the Ted Talk, ask students to describe what “service” means to them using the initial words or phrases that come to mind using mentimeter. After discussing the students brainstorm, use the following discussion questions to help students build connections between volunteerism and community: 1. What do you think motivates individuals to volunteer/serve? 2. How did Kofoworola determine where she wanted to volunteer/serve? 3. Do you have to volunteer in a community that you belong to? Why or why not? 4. What are the benefits of serving a community? Additional optional videos: Volunteering: empowering others, empowering yourself ; 10 Ways to Build a Sense of Community

GROUPINGS: X

Students working as whole class  Students working in Pairs X Students working in small groups X Students working individually

TEACHING/LEARNING STRATEGIES:                    

Debate Oral Presentation Reader’s Theatre Role Playing Discussion Interview Literature Circles Think/Pair/Share Advance Organizer Book Talks Conferencing Guided Reading Guided Writing Independent Reading Portfolio Reading Response Reflection Response Journal Brainstorming Other: _______________

ASSESSMENT STRATEGIES:  Classroom Presentation  Conference

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Action: Activity 1 - Think Pair Share Teacher will hand out the speech given by Aga Khan III. In his speech to volunteers within the Shia Ismaili Community, Aga Khan III encouraged members to “work, no words”. 1. 2. 3. 4.

What does this quote mean to you? How can this quote be used to promote service? How might this quote be taken out of context? Brainstorm different examples of service and volunteering in the community. Compare your ideas with your partner.

Activity 2. 1. Identify a current social issue that is impacting a specific community. How might the concept of “Work, No Words” apply to the issue? How might you engage in community building through service? 2. Create a campaign, Public Service Announcement (PSA) or Tik Tok Video to share information with the community about your issue. The goal will be to spread awareness as well as engage community members to take action for your identified social issue. Teacher Notes: Teacher can bring in relevant social issues to demonstrate the learning objective. For example, the Covid-19 pandemic, racial injustice, climate change, the unhoused/homeless crisis Examples: Consolidation Teacher Notes: As a culmination of students learning use either Activity 3 – Reflection or Activity 4 – Discussion Questions Activity 3: Reflection. Each student will complete the following reflection. After learning about service and community building through the quote, “Work no Words”, What are three points that you want to remember? What are questions that you still have? What do you want to learn going forward?

            

Essay Exhibition/Demonstration Interview Learning Log Observation Performance Task Portfolio Question and Answer (Oral) Quiz, Test, Examination Response Journal Select Response Self-Assessment Other: _______________

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Activity 4: After learning about service and community building through the quote, “Work no Words”, discuss the following questions: 1. What did you learn about yourself throughout the process of the lesson? 2. Has your idea of serving one’s community changed? Why or Why not? 3. If a friend was looking to get involved in community service or volunteering, what advice would you give them? References Rights Based Social Policy. (2017, May 31). 10 Ways to Build a Sense of Community. [Video]. YouTube. https://www.youtube.com/watch?v=rqMtpk754ns Sultanova, K. (2018, July 26). Volunteering: empowering others, empowering yourself. [Video]. YouTube. https://www.youtube.com/watch?v=0bzeewqmICU

ACCOMMODATIONS: -Provide extra time to students, provide a note catcher for students to record their learning, provide digital notes MODIFICATIONS: HOMEWORK: Activities Research Reflection

TEACHER REFLECTIONS:

ASSESSMENT RECORDING DEVICES:     

Anecdotal Record Checklist Rating Scale Rubric Other: _______________

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References Budhwani, N.  N., & McLean, G.  N. (2012). Community and Societal Development: A Case Study of an Ismaili Muslim Community’s HRD Efforts. Advances in Developing Human Resources, 14(3), 264–278. https://doi. org/10.1177/1523422312446159 Dewji, S. (2018). Beyond Muslim Xenophobia and Contemporary Parochialism: Aga Khan IV, the Isma‘̄ ı ̄lı ̄s, and the making of a Cosmopolitan Ethic. Theses and Dissertations (Comprehensive). 2042. https://scholars.wlu.ca/etd/2042 Ginwright, S., Cammarota, J., & Noguera, P. (2006). Beyond Resistance! Youth Activism and Community Change: New Democratic Possibilities for Practice and Policy for America’s Youth. Routledge Taylor & Francis Group. https://doi. org/10.4324/9780203961001 Islamic Publications Limited. (2021). Ismaili History 820  – SULTAN MUHAMMAD SHAH AGA KHAN III (1302-1376/1885-1957). http:// ismaili.net/heritage/book/export/html/18066 Mawani, R., & Velji, N. (2012). Towards a Tradition of Service: The First Decade of the Ismaili Volunteer Corps. The Ismaili Canada, 2, 39–43. Watts, R., Diemer, M., & Voight, A. (2011). Critical Consciousness: Current Status and Future Directions. Newdirections for child and adolescent development, 43–57. https://doi.org/10.1002/cd.310

CHAPTER 17

Addressing the Elephant in the Room Alysha Damji

Objectives • To understand the importance of storytelling as a tool for communication, survival, and conveying generational wisdom. • To highlight a story that conveys universal truths and brings attention to the different experiences that people may have concerning their intersectionality with identity, power, and privilege.

Locating Self as Author Once upon a time, there was a young girl named Luri who was born in Oshawa, Ontario. Luri’s parents left Uganda in 1972 as refugees. They left behind their belongings, loved ones, and a life to arrive in Canada to find themselves sleeping in a bus station in Montreal on their first night. While trying to adjust to a new town and maintain their cultural identity, her parents thought it would be best to only teach Luri their native

A. Damji (*) Independent Scholar, Waterloo, ON, Canada © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3_17

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languages, Kachchi and Swahili. As a result, she became her school’s first Canadian-born, English language learner! It was in Canada where Luri’s family would learn about invisible barriers, related to race, education, and religion, that they would have to overcome. Interestingly, Luri did not start speaking until the age of three and would communicate through sounds and gestures. Her family was told that she had a speech delay and an auditory processing disorder. Like many newcomer families, Luri’s parents were working, six days a week with 12-hour days and she was raised by her grandparents, who also did not know English. By the time she entered pre-school, she had learned a few words in English, but Luri would continue to think and speak in her first language. By the end of the school term, her parents thought she would have learned English, but instead, her teachers had learned to understand Kachchi and Swahili. It was only once Luri was in post-secondary studies where her and her family learned that it is quite common for students who are learning a new language to go through a “silent” or nonverbal period. To build her fluency and vocabulary, Luri’s teachers encouraged her family to read her stories in English, however, yet another invisible barrier emerged. Even though she loved attending school and learning from her teachers and classmates, she had difficulty connecting to the stories that were shared in class. The life and experiences of the main character were not reflective of her intersectionality and identities as a multi-language learner, a female, and identifying as a Muslim. In the 1980s, it was difficult to find books and popular culture references that highlighted these experiences. As she got older, her feelings of embarrassment and difference widened, and she tried to hide her language, culture, and identity. It was then that her multi-generational family, as a whole, dedicated themselves to bringing English into her household through storytelling. Her father would tell her stories mixed with English, Kachchi, and Swahili to help her understand. He would encourage her to become one of the main characters and infuse her reality into the story. How do I know so much about Luri’s journey? Luri, is a nickname given to me, the author of this chapter. As my parents were trying to navigate my speech delay and teach me to say my name, my brother would mischievously tell me (behind my parent’s back), “You’re Luri, not Alysha.” For the longest time, my parents never understood why I kept referring to myself as Luri, until they found him, red-handed, trying to teach me. As I reflect on my journey, storytelling was not just for entertainment, “fun and amusement to pass the time.” It became an empowering “tool for survival” which gave me a license to communicate and allow me to

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access knowledge and perspectives (Luwisch, 2001, p.  145; Lugmayr et al., 2016). My identity and intersectionality placed me in a category that did not yield the same privilege as my classmates. By virtue of my circumstance, consciously and unconsciously, the system of education was designed to benefit those who spoke English as their first language, who support at home, who were reflected in mainstream culture, and who had access to enriching activities. Fortunately, since I lived in a multi-­ generational home, storytelling allowed me an opportunity to navigate the system by using “intergenerational communication and connection” and “intergenerational relationships” as a way to harness knowledge and develop skills and strengthen (p.  423). The stories I was told over the years gave me insight into generational gems that allowed me to maintain my cultural heritage. While integrating culture, language, and expressions, one of my favourite stories, my father would tell and re-tell me over the years is called “The Blind Men and the Elephant.” Over time, this story would not only help build vocabulary but also, helped inform future lessons that I would use in my lifetime, such as the necessity of multiple truths and experiences coexisting. Like the men and their elephant navigating their intersectionality, I was navigating many truths and perspectives on a micro and macro level. As an educator, honouring the power of oral culture is a way to work towards anti-oppressive teaching practices.

Blind Men and the Elephant Over the years, there is one story in particular, that was told and retold during different points in my life, each with different life lessons. In English, it is referred to as, “The Blind Men and the Elephant.” It has been translated and understood in many traditions and cultures, with its contextual variations. It is also referred to as “Six Blind Men.” In my family, we would refer to it as, “Marso jeh naa-ri-na sagnava” (The People Who Couldn’t See) “ani Raja jo Tembo” (and the King’s Elephant). In my research, I have learned that it is a poem, it is a fable, and now has been graphically adapted into a short video. Here is an example of a video adaptation: https://www.youtube.com/watch?v=Vn9BUfUCL4I. By looking at the many variations, you can begin to see the “metamorphosis a story undergoes in the listening ear” (Yolen, 1986, p.  4). It is evident that a great story, told and retold, “exists neither in the mouth nor on the page…It is created between. No two listeners hear the same tale. Each

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brings something of himself to the story and the story is then re-created” (Yolen, 1986, p. 4). The variation of the story that will be shared with you starts with a group of blind men working together at a king’s palace. As the men are working, they bumped into a large structure. Puzzled by the large structure, each of them began touching and using their senses to come to their conclusions of the large structure. Screaming over each other, they try to explain what is in front of them. They yelled, “it’s strong, like a rope,” “oh no, it’s a snake,” “no, it’s like a large wall,” and “no, it’s like a spear.” Unknowingly, the men had bumped into the king’s elephant and none of the men had ever seen an elephant before! As they argued about the structure, each of the men was positioned at different parts of the elephant from its tale to its snout, to its tusk and its large legs, each describing what was in front of them. They continued to argue their perspective until the king explained that it was his elephant. This parable has crossed many religious traditions (including Buddhism, Islam, and Hinduism) and cultural traditions (from India to Africa to Europe to China), each with its adaptations. Most commonly, Jalāl ad-Dı̄ n Rūmı̄ ( ), a Sufi poet, whose works have been translated frequently, retells is as “The Elephant in the Dark.” The adaptations are not “violating the tales…They are well within the tradition of taletelling” honouring the “tradition of constant and continuing re-creation” (Yolen, 1986, p. 5). The story itself is history and each variation “carries with it over the miles and through the generations the bruises and blandishments and embraces of the societies in which it has dwelt.” (Yolen, 1986, p. 8). Currently, this story is used as an analogy for peer-reviewed medical and economical articles too. “By looking at the tale variants, one can get a sense of the kind of metamorphosis a story undergoes in the listening ear” (Yolen, 1986, p. 4). In fact, tale-telling asks to be interpreted, because “it is a tradition of constant and continuing re-creation” (Yolen, 1986, p. 5). Although the story has been translated, appropriated, and understood in different contexts, it is a story that has many possibilities of being integrated with elementary, secondary, and undergraduate education in Canada.

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Take Away Message/Understanding Storytelling is often “used interchangeably with oral tradition, oral history, and folklore” and “is a way to share family history, pass traditions onto the next generation, and raise children” (Fabius, 2016, p.  428). Stories help us gain insights and knowledge and create generational wisdom. Although this story may have originated in a different time and context, there is a sense of universality and timeless link in the themes of the story. Banks-Wallace (2002) suggests storytelling as an interactive practice where a person can express and learn from their “hopes, fears, and dreams” (Fabius, 2016, p. 429). With this in mind, depending on how you use this story, it becomes interactive practice with your students that can yield different messages (from K to 12 and beyond). As a child, this story was important to me because it showed me that different perspectives may coexist alongside each other. As an adult, this story hints to a universal truth that different perspectives must coexist alongside each other. As an educator, as I constantly navigate my intersectionality, power and privilege in a personal and professional space, I now know that each of the children we meet has different experiences and subjective realities, as the men did. Firstly, in “The Blind Men and the Elephant,” we see that they argue about a rope, snake, wall, or spear, which suggests that they used their prior knowledge and experience to make assumptions of their reality. Interestingly, they concluded, from one perspective, the perspective that was in front of them and/or the perspective that was most comfortable or proximal to them. Why did each of the men not choose to venture from their place of comfort? Hypothetically, if the elephant represents the human experience as a whole, how are each of us like the blind men when it comes to making decisions, making inferences or judgements about our life? On a micro level, do we only look at one perspective, a perspective that is most familiar and closest to us? Do we listen to others’ perspective, even though it is very different from our reality? When encountering something new, do we choose to hold onto our perspective, rather than looking at it from different positions? Do we make our decision based on the sum total of all experiences? Now, on a macro level, what happens if we do this while occupying positions of power that inform decision-­ making, policies, and procedures? For example, what judgements do we make about communities that we interact with. Growing up as a Muslim and being an educator who identifies as Muslim, I often hear people speak

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about the diverse Muslim community from the perspective of their experience, interactions. I often see educators speak for an entire community, nation, or set of people without recognizing the diversity of that particular community. For example, looking at the global Muslim community, through a thorough examination, we see diverse expressions of Islam have emerged from a variety of encounters, interactions, and moments as the religion and culture flourished in different regions since the seventh century to present day. Specifically, His Highness the Aga Khan, the Chairman of Canada’s Global Centre for Pluralism states, “what a wonderful, liberating thing it would be if more of us, more of the time, could see diversity not as a burden, but as a blessing; not as a threat, but as an opportunity” (2016, p.  1). Unfortunately, we are no different than the men being guided by our implicit and explicit bias seeing diversity as a threat. When considering the categories of “isms” such as sexism, classism, racism, and ageism, these are all “examples of institutionalized and individual biases we hold consciously and unconsciously embedded in our culture and history” (Summers, 2017, p. 501). Therefore, having multiple perspectives in understanding the holistic experience is necessary. In the book, “Blindspot: Hidden Biases of Good People,” the authors highlight how our hidden biases influence our behaviour while we “remain oblivious to their influence” (Banaji & Greenwald, 2013, p. xxi). From an institutional level, there are decisions, inferences, and judgements being made at this level. There are written and unwritten rules, policies, and practices being decided on who is included and excluded, based on interpretations of a partial whole. Secondly, the story also speaks to exploration and consultation in a community. There may have been a situation that one fails in, but experimentation, exploration, and consultation, are all ways to problem-­solving situations that are unknown to us. In fact, the elephant created a safe space to allow the blind men to touch, pull, and tug in order to explore. How do we as parents, as teachers, as educators, and as fellow friends do this for the people around us to facilitate learning? Although consultation can be highly uncomfortable, how might the story have changed if the group of men harnessed their collective strength and experience to understand what was in front of them through consultation? How do we privilege multiple truths to exist? If our knowledge relies on the sum total of our own experiences, we must ask, what else is missing? What voice is not represented? As an educator, the first step can create safe spaces for our children by creating a diverse learning environment by removing a

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one-size-fits-all approach. For example, when two of your students, two of your children, or two of your family members may have a similar experience with you, the interpretation of that “same” subjective experience will be very different for both of them. Now, moving to a community level, members of the same community may have the same experience, but the interpretation of that experience will also differ. In the story, we can see that the men are touching the elephant. In our current world, we do not see the elephant and decision-makers (on all levels) are making decisions based on the whole that is in front of them. Moving more introspectively, the reader must wonder, who are you in the story? What are you doing with the knowledge and resources that are given to you? Are you looking at the story from the perspective of the elephant, the blind man, or the king? For example, the king is given the privilege and the resources to own, know, and see the elephant. What role does the king play in helping the men understand the experience (of the elephant)? Alternatively, although the king had privilege, what is he missing by not touching the elephant and seeing it from the perspective of the blind men? At a system level, what impact would be felt if policymakers were the recipients of the same policy? What qualities did the elephant have to allow people to encounter in the manner in which they did? If you are one of the characters, the king, the elephant or the blind man, how are you choosing to understand what is in front of you? What are you doing, for the community, with the knowledge that you have been entrusted? Great stories leave a mark and “transport us into the lives of the characters. We see the world through their eyes, and we are changed by their experiences because they feel like our own. Great stories can counter existing beliefs…. They can help communities radically imagine new ways of being and seeing” (Neimand et al., 2021, p. 1). Stories like this one help highlight how intersectionality is shaped, oppressed, or celebrated. Storytelling makes it possible for “members of marginalized groups to claim the voices silenced by mainstream culture” can be a way of “admitting the other into one’s world and thus of neutralizing the otherness and strangeness” (McLaughlin & Tierney, 1993 in Luwisch, 2001, p. 133). For example, for my dad, Canada was his elephant, and he was the blind man navigating what a new life would look like as a refugee, with no prior context. Colonialism and its structure have oppressed many people and required people to navigate a complex web of power, privilege, and hierarchy. Storytelling gives voices back to communities and people. Storytelling, for my father and my family, because a way to become empowered and to

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become the main character in our own life stories. Storytelling creates a way to amplify marginalized voices and experiences. Like the elephant, we amplify our identity, our truths, our barriers, and the negotiations in our work with others. Storytelling allows for social change because it helps “build understanding” and “show the complex ways communities experience systems of inequality” (Neiman et al., 2021, p. 1). Lastly, in the educational space, this story can help the learner build the skill of perspective and recognize the impact that perspective has on action. Learners begin to wonder how many perspectives could contribute to the whole. This story can help learners actively think about their own experience and relate it to others’ experiences too. For example, learners can wonder, what is ideal beauty? What is constructed by the media versus self-compassion? What archetypes are we guided by? The beauty of oral culture is that it is not fixed in time or in space. It moves, it transcends borders, it is mysterious, it creates its new dynamic identities with whom it meets. This story is an example of dynamic identity through its many variations. The literature we bring into the classroom and to our home libraries should be representative of many cultures and traditions, like these stories.

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Activity Plan Subject(s): Language and Drama LEARNING EXPECTATIONS: Language 1.1: Read a variety of texts from diverse cultures 1.4 Summarize important ideas

RESOURCES/MATERIALS: Paper Electronic Device and Internet YouTube link: https://www.youtube.com/watch?v=Vn9BUfUCL4I

1.6 Extend understanding of texts by connecting the ideas Global Centre for Pluralism: in them to their own knowledge, experience and insights https://www.pluralism.ca/what-we-do-2/education/ to other familiar texts, and to the world around them. POSSIBLE GROUPINGS:  Students working as whole class Drama  Students working in Pairs B2.1: Express personal responses and make connections  Students working in small groups to characters, themes, and issues presented in their own  Students working individually and others' drama works TIME:

.

Activity Description and Details:

TEACHING/LEARNING STRATEGIES: Lesson Summary: In this lesson, students  Oral Presentation will engage in a Reader’s Theatre to learn  Reader’s Theatre the script of the story and then reflect on  Role Playing the story. As an extension, students then  Discussion can create their own alternate endings to  Interview the story or adapt them for present-day  Think/Pair/Share situations.  Conferencing  Guided Reading  Guided Writing Minds On To critically analyze the story, it is  Independent Reading important to ask questions about all parts  Reading Response of the story. At the beginning of the story,  Reflection while referring to the title, the educator can  Response Journal ask “Who are the characters in our story?”  Brainstorming “Looking at the title, what do you think the ASSESSMENT STRATEGIES: story will be about?” or “Does the title  Classroom Presentation remind you of something you have seen or  Conference heard of before?”  Role Playing  Podcasting Working On It  Exhibition/Demonstration During storytelling, the audience can create  Interview  Learning Log new knowledge by inferring the meaning  Observation of these stories, using experience and  Performance Task

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wisdom and connecting it to present and real-life situations (Lugmayr et al., 2016). If the story is broken down in a script form, depending on comfort, the educator can assign reading parts to each child. After students have practiced their script, they can act/read their assigned parts to the class. The teacher or a student can be the narrator of the story. During storytelling, to evoke empathy and critical thinking from multiple perspectives, the educator can ask, “Is there a character you connect to?”, “If you were one of the people by the elephant, what would you have done differently?”, “What do you think will happen next?” Near the end, the educator can ask, “What do we learn about the blind men?”, “What do we learn about the king?”, “Have you had a similar situation where you felt that you knew, but there may have been something missing?”, “Why might it be important to consult multiple perspectives?” The educator could evoke empathy during the story by asking questions that encourage the student to take on a different perspective. For example, you could ask, “if you were the elephant and/or king and/or blind men in the story, what would you have done?” and “How might have the blind men’s experience changed if they moved around the elephant, feeling what each person had felt?” Consolidation During the consolidation phase of the lesson, the student could be asked to summarize important ideas from the story. Students can reflect on the prompt, “How does this story apply to your life?” “How does this story apply to the world in which we live” and “Why is it important that we work together?” To further prompt,

     

Portfolio Question and Answer (Oral) Response Journal Select Response Self-Assessment Other: _______________

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students can be asked what it would have looked like if the King entered or if the men communicated with each other. ACCOMMODATIONS: Students can be provided examples of the same story in different traditions and compare and contrast the differences. MODIFICATIONS: Students can summarize the story and pull out the main idea. EXTENSIONS: Language Arts Extension Students could make a connection to their own identities and issues in their communities through activities like the Power Flower (https://buildingcompetence.ca/workshop/power_flower/) or Privilege Walk. How is this story a reflection of the world in which we live today? What could the elephant represent? What are the different perspectives about a selected issue that are present? How do they work together? How would you change this story? What would you add? What would you remove? How could you convey the same theme, but through a different plot? Visual Art Extension Read the story and design the Elephant using the elements of art for each of the parts of the elephant (legs, trunk, body, ear), highlighting a different perspective of each. See below for further extensions.

ASSESSMENT RECORDING DEVICES:  Anecdotal Record  Checklist  Rating Scale  Rubric

TEACHER REFLECTIONS: There are different ways to use this story in different subject-specific areas. Oral culture has been a foundation for many traditions and cultures. In the past, didactic literature was created to instruct and inculcate a moral message. However, today students are given the propensity to ask questions, dream of alternative endings, and apply a story from another context to our human experience. Stories and the diversity of oral culture allow lived experiences to be shared and honours difference. From initially understanding the story and comparing and contrasting their experience, they can gradually build a deeper understanding by analyzing, evaluating and creating media texts that connect to these larger themes. With this, students become the active creators of knowledge, we begin to learn deeper about the intersectionality that exist and connect to other traditions as we make new meaning in our given context. It is through stories that you pass knowledge, advice and key life moments. As such, this lesson plan is only one way of engaging with the story. To bring about new meaning, new perspectives and new learnings it is important to revisit the story at different points of the year for students to learn about its many meanings.

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ADDITIONAL CONNECTIONS The story of “The Blind Men and the Elephant,” can be integrated with many subjects highlighted briefly in the chart from K-12 depending on the topic. Subjects Possible Uses Language Use this story to engage in ‘Reading for Meaning’. As students are reading the story, students can engage in comprehension strategies (before, during and after) the story. For example, they can ask questions, summarize sections of the story or synthesis their ideas. More recently, this story has been depicted in the form of a graphic story with illustrations by various artists. Students can look and learn about text features and/or engage in a Readers Theatre (Blake, 2012; Young and Rasinski, 2009). Media Literacy Use the story to teach how to make inferences and interpret messages. Students can analyze multiple perspectives with the fable by looking for “overt and implied messages to draw inferences and construct meaning” and allow them to “express opinions about ideas” and use “the text to support their opinion” (OME, 2006, p. 91). The elephant could be used as an analogy to represent certain perspectives in the same way as persuasive media techniques. Drama Students can reenact the story using Drama elements such as role, character, relationship, time, place, tension, focus, and emphasis. Visual Arts Read the story and design the elephant using the elements of art for each of the parts of the elephant (legs, trunk, body, ear). Science To engage in the scientific inquiry and problem-solving process. Place a toy elephant and/or another object in plain sight. Allow students to engage with the object using their senses (except for sight). Allow students to ask questions, record observations, and come together to discuss findings of what the object could be about. In upper grades, a connection can be made to the book, “The Brain: The Story of You” to spark curiosity about the fact that our brain is constantly rewiring itself due to our patterns, neural networks and experiences. Social Studies Read the story to teach perspective and bias. According to the Ontario Social Studies and/or curriculum, perspective, “refers to the ways in which different individuals and/or groups view Humanities something.” With the story, students can “learn that different groups have different (World perspectives” and they can “learn the importance of analyzing sources to determine whose Cultures) perspectives they convey and of gathering sources that reflect multiple perspectives” (OME, 2018, p.62). In Grade 9-12, using the Social Studies and Humanities curriculum, students could use this story and look at its appropriation through different cultures and religions when they learn about World Cultures and how identities are acquired. In Strand D (Sacred Teachings and Principals) as D1 Tenets, Practices and Teachings, the teacher could bring in how Muslims and other faith communities have understood this story. Mathematics

Read the story. Use the story to speak of measurement, comparing, estimating, length and circumference.

References Blake, K.  A. (2012, March). Using Readers Theater to Reach Older Readers. ASCD.  Retrieved April 1, 2022, from http://www.ascd.org/publications/ educational-­leadership/mar12/vol69/num06/Using-­Readers-­Theater-­to-­ Reach-­Older-­Readers.aspx

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Fabius, C. D. (2016). Toward an Integration of Narrative Identity, Generativity, and Storytelling in African American Elders. Journal of Black Studies, 47(5), 423–434. https://doi.org/10.1177/0021934716638801 His Highness the Aga Khan. (2016, February). Conference: Aga Khan Development Network. AKDN.  Retrieved April 1, 2022, from https://www.akdn.org/ speech/his-­highness-­aga-­khan/africa-­2016-­conference Lugmayr, A., Sutinen, E., Suhonen, J., Sedano, C. I., Hlavacs, H., & Montero, C. S. (2016). Serious Storytelling – A First Definition and Review. Multimedia Tools and Applications, 76(14), 15707–15733. https://doi.org/10.1007/ s11042-­016-­3865-­5 Luwisch, F. E. (2001). Understanding What Goes on in the Heart and The Mind: Learning About Diversity and Co-existence Through Storytelling. Teaching and Teacher Education, 17(2), 133–146. https://doi.org/10.1016/ s0742-­051x(00)00047-­0 Neimand, A., Asorey, N., Christiano, A., Wallace, Z., & Annie Neimand (@ AnnieNeimand) Is the Director of Research for the Center for Public Interest Communications at the University of Florida College of Journalism and Communications. Natalie Asorey (@NatalieAsorey) Is a Lecturer in the Department of Public Rel. (2021). Why Intersectional Stories Are Key to Helping the Communities We Serve (SSIR). Stanford Social Innovation Review: Informing and Inspiring Leaders of Social Change. Retrieved April 1, 2022, from https://ssir.org/articles/ entry/why_intersectional_stories_are_key_to_helping_the_communities_we_serve Summers, R.  W. (2017). Social Psychology: How Other People Influence Our Thoughts and Actions. The Ontario Curriculum, Grades 1 to 8, Social Studies, History and Geography. 2018. Ontario Ministry of Education (OME). (n.d.). Retrieved April 1, 2022, from http://www.edu.gov.on.ca/eng/curriculum/elementary/social-­studies-­ history-­geography-­2018.pdf The Ontario Curriculum, Grades 1–8, Language [Revised] 2006. Ontario Ministry of Education. (n.d.). Retrieved April 1, 2022, from http://www.edu.gov.on. ca/eng/curriculum/elementary/language18currb.pdf The Ontario Curriculum, Grades 9 to 12, Social Studies and Humanities [Revised] 2013. Ontario Ministry of Education. (n.d.). Retrieved April 1, 2022, from h t t p : / / w w w. e d u . g o v. o n . c a / e n g / c u r r i c u l u m / s e c o n d a r y / s s c i e nces9to122013.pdf Who we are. Global Centre for Pluralism. (2021, March 12). Retrieved April 1, 2022, from https://www.pluralism.ca/who-­we-­are/ Yolen, J. (1986). Favorite Folktales from Around the World. Pantheon Books. Young, C., & Rasinski, T. (2009). Implementing Readers Theatre as an Approach to Classroom Fluency Instruction. The Reading Teacher, 63(1), 4–13. https:// doi.org/10.1598/rt.63.1.1 YouTube. (2015). The Blind Men and the Elephant. Retrieved April 1, 2022, from https://www.youtube.com/watch?v=Vn9BUfUCL4I

Index

A Activism, 280, 283 Afghan, 62–72 Africa, 80 African identity, 26 Afro-Palestinian, 267, 268 Ancestry, 20, 23, 26, 235, 237 Anti-colonial, 230, 235–236 Arabic, 268, 272 B Beliefs, 236 Belonging, 120 Bias, 294 Black, 268 Book collection audit, 45–48

Colonialism, 63, 64, 70, 72, 267, 268, 274 Colonization, 138, 230, 232, 234 Communities, 255–260, 293–296 Community service, 279 Counter-narrative, 20, 26 Creative drama, 119 Creator, 253, 254 Critical literacy, 44, 45 Critically conscious, 45, 48, 49, 52 Critique on society, 119 Cultural norms, 236 Culturally relevant, 19, 21 Cultures, 2, 7–10, 12–14, 80–87, 195, 198–200, 203, 289–296 Curriculum, 39, 40, 42–45, 153, 154, 255, 256, 258

C Caribbean, 136–142 Character development, 279 Colonial, 198, 199 Colonial injustices, 176, 177

D Decolonial praxis, 12 Decolonization, 185, 212 Decolonizing, 12 Deliberate silence, 107, 108

© The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 A. Eizadirad, N. N. Wane (eds.), The Power of Oral Culture in Education, https://doi.org/10.1007/978-3-031-18537-3

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INDEX

Destiny, proverb, 81, 84, 86 Diaspora, 273 Diverse cultural narratives, 98 Diversity, 218 Doll, 251–260 E Earth, 211, 216, 218, 219 East Africa, 280 Education, 136, 137, 141 Elders, 229–246 Embu proverbs, 229–246 Emotional learning, 256 Ethics, 137, 279, 281 Exploitation, 176, 178, 179 F Faith, 280–284 Family, 79, 81, 83, 84, 86, 87, 137, 138, 140, 141 Farsi, 148–150, 152 Ferdowsi Tusi, Abul-Qâsem, 148 Folklore tales, 2, 3, 5, 11, 14 Folktale, 211–220 G Generations, 198–200 Global South, 63, 66, 69 H Haudenosaunee, 251–260 Histories, 4, 6, 10, 15, 231–234, 258–260 Humility, 255 Humorous, 119

I Identity, 39–48, 50, 51, 54, 79–87, 282, 284 Idioms, 2–4, 11, 14, 15, 147–155 India, 213–215 Indigenous, 80, 82, 85, 87, 268, 272, 273 Indigenous African culture, 20 Indigenous knowledge, 230, 231, 235–236 Indigenous pedagogies, 199 Indigenous self-determination, 193 Inequities, 178 Intentionality, 2, 11 Intergenerational, 14, 291 Intersectionality, 289–291, 293, 295 Iran, 3, 6, 7, 10 Iranian, 98, 147–155 Ismaili community, 280, 281 J Japanese culture, 118, 120 K Kenya, 3, 4, 22, 23 Kiswahili, 20–23, 25 Knowledge, 137–139, 142, 194, 197, 199, 203 L Language, 83, 85, 86, 290, 291 Legends, 251–260 Liberation, 165, 180 Love, 211, 213, 215–219

 INDEX 

M Mohawk, 252 Morals, 137 Muslim, 62–72, 99, 100, 268, 280, 282, 283 Muslim, South Asian, 283 O Oral culture, 2–15, 147–155, 165, 177, 179, 185, 186 P Pakistan, 62, 63, 65–67 Palestinian, 165–187, 267–274 Pashtun, 62–67, 70 Pedagogies, 153–155 Persian, 98, 99, 102 Perspectives, 291–296 Poetry, 98–102, 104, 105, 107, 110, 111 Power, 40–45, 47, 54 Principles, 137 Privilege, 289, 291, 293–295 Proverbs, 2–6, 8, 11, 12, 14, 15, 40–42, 46, 54, 80–87 R Rakugo storytelling, 118–119, 121 Reconciliation, 203 Refugee, 167, 168, 170, 175, 182 Relationality, 218 Relationship, 119, 120 Representation, 41, 45, 153 Residential schools, 193–203 Resistance, 20, 26, 62–72, 165–187, 268, 271, 273, 274 Rumi, J., 98–111

305

S Sacred traditions, 271 Sense of community, 120 Shahnameh, 147–155 Shame, 147–155 Soulful listening, 98–111 Spiritual, 98–102, 104, 105, 108 Spirituality, 23, 80, 82, 85 Stereotypical representations, 63 Stories, 39–54, 193, 194, 196–201, 203 Storytelling, 2–4, 7–8, 10, 12–15, 271–274, 289–291, 293, 295, 296 Sustainability, 27 Systems of power, 175, 180 T Taliban, 64, 65, 67, 68, 70, 71 Teacher education, 193–194, 199 Teacher praxis, 212 Teachings, 136–141 Third spaces, 99, 101 Timeless, 42, 54 Toronto, 148–149 Traditions, 2–4, 7, 8, 10, 12–15, 80, 81, 83–86, 200, 201, 281 Transformative change, 219 Truths, 193, 196, 200, 289, 291, 293, 294, 296 V Values, 141, 279–284 Volunteer, 280–283 W Wisdom, 211, 213, 218–220 Women, 62–71