make a presentation comparing folklore genres

Introduction to Folklore Genres

Introduction

Hello, and welcome to the Folklore & Fiction newsletter. In this edition, I'll be introducing you to folklore genres with help from scholars Alan Dundes and others, discussing how the concept of genre can be both helpful and problematic, detailing a few ways to classify genres, and showing you how to use this information as a writer.

What is folklore?

In 1846, British writer William Thoms coined the word "folk-lore" in a letter written under the pseudonym Ambrose Merton to a literary magazine called  The Athenaeum . Thoms contributed little else to folkloristics, but because he gave the discipline its name, we remember him for it. Indeed, he would not have had it any other way. Alan Dundes writes that among other self-congratulatory gestures, he was given to jotting versions of the following quatrain on the backs of photographs and calling cards: "If you would fain know more / Of him whose photo here is / He coined the word  folk-lore  / and started  Notes and Queries  (Dundes 1999, chap. 2)."

This is a  Folklore & Fiction  dispatch excerpt. To read the full dispatch, create a free account or log in to your existing account for access to the archives.

My name is Ceallaigh S. MacCath-Moran, and I'm a PhD candidate in the Folklore Department at Memorial University of Newfoundland. I'm also a writer, poet, and musician under the pseudonym C.S. MacCath. The Folklore & Fiction podcast and dispatch synthesize these passions with a focus on folklore scholarship aimed at storytellers. You'll find the Folklore & Fiction archive (along with the rest of my work) online at csmaccath.com and folkloreandfiction.com .

Teaching Folktales Genre with Activities You’ll Love

Teaching the folktales genre? Start with an introduction to types of folklore. Then review elements of literature. Finally, show kids how to compare, contrast, and construct responses.

Ms. Sneed Ponders the Differences in Folklore and Folktales

Our favorite fourth grade teacher, Ms. Sneed, sat in her weekly grade level meeting. “Let’s continue planning our ELA block ,” she said. “Next week, our literature curriculum will focus on teaching the folktales genre.”

“That’s a great tie-in with our other genre studies ,” said her colleague, Mr. Frank. “However, what I don’t understand is the difference between folktales and folklore.”

“I use them interchangeably,” commented Ms. Sneed.

“Not me,” said Mrs. Price. “I think of folklore as a cultural thing and folktales as a form of literature.”

Mr. Frank was already pecking away at his laptop. After a few seconds, he raised his head. “These articles agree with our disagreement. Folklore includes shared cultural beliefs. However, an alternate definition is shared stories. So you’re both right. Folklore, or folktales, include stories passed down orally in a culture. Examples include myths , legends, fables , fairy tales , and tall tales – just to name a few.”

“Wait a minute,” Mrs. Price said. “I’ve seen activities that ask kids to discriminate between folktales and fables. If fables are folktales, how can that be?”

After clicking away a little more, Mr. Frank replied. “It seems that some people group folklore into two categories: those with human characters, or folktales, and those with animal characters, or fables.”

“Well that’s just crazy,” said Mrs. Price. “Because some fables have human characters.”

Ms. Sneed laughed. “Let’s decide how we will explain this to our kids. I’m thinking that we can call all stories shared by a culture folklore, or folktales. Categories of this form of literature include myths, legends, fables, fairy tales, tall tales, and more.”

The other two teachers nodded in agreement. “That works for me,” said Mrs. Price. “Clear and concise.”

Teaching Folktales Through Literary Analysis

The following Monday Ms. Sneed dug into folklore. “Good morning, everyone. Today we’ll begin our folklore unit.”

She began distributing a reference guide and continued. “This genre, which is also called folktales, include stories shared by a specific culture. Generally, these tales were passed down orally. One generation shared a story by passing it down to the next.

“Here you see five different types of folklore:

• Myths, which are ancient tales that often include superhuman characters;
• Legends, which originate from factual accounts but have been changed over time;
• Fairy tales, which pit good against evil and include some sort of magical element;
• Fables, which teach lessons and usually have animal characters that behave like humans;
• Tall tales, which are hugely exaggerated.”

Ms. Sneed walked back to the front of the room. “You will work in your groups today,” she said. Of course, this caused a low roar of excitement at each table.

“Each table will receive a passage and a worksheet . You can take turns reading the story. Then you will appoint one group member as the scribe. He or she will fill out the worksheet as you discuss it. In the end, you’ll figure out which genre of folklore you have read and explain how you know.”

The teacher gave each group a piece of literature and a response sheet. Then she stood back, watched, and listened.

“I think this is a legend,” one boy said to his group.

“No way,” said the girl sitting next to him.

“But Paul Bunyan might have been a real person,” the boy responded.

“Even if that’s true,” said another group member, “this story is way too exaggerated to be a legend.”

Ms. Sneed smiled and continued to circulate around the room

Reinforcing Genres of Folklore

The next day, Ms. Sneed was ready for teaching folktales with a slideshow . “As we review categories,” she said, “the presentation will also give an example from yesterday’s activity. You can see if your group was right in its choice.”

Everyone watched attentively as the slideshow divulged the genres of their stories from the day before. When the group with “Feeding Paul Bunyan’s Men” saw that theirs was a tall tale, they all whooped.

Teaching Folktales with Compare and Contrast Activities

The next morning, Ms. Sneed’s class noticed a new bulletin board. “Hey, these posters go with our stories,” someone shouted.

“Yes, I put the posters up to remind us of the folktales genres,” said Ms. Sneed. “Today we’ll learn to compare and contrast traditional literature. It’s Common Core State Standard RL.4.9, so we’ll check another standard off our list. More than that, it’s a high-level activity that you’ll enjoy.”

Their teacher walked to her computer and clicked to present a video on the screen in front of the classroom. “Yay! ‘The Ants and the Grasshopper!’ I love this video.”

When the movie was over, the class was surprised when Ms. Sneed played another, “The Three Little Pigs.”

As it wrapped up, she smiled and said, “Bonus! Two videos today. After all, we have to compare and contrast.”

She pulled up a slideshow on how to compare folktales and began to teach. “To compare folktales, you must first identify their elements.” Ms. Sneed asked her students to help her with this. Soon, they had an entire table filled in.

From there, they analyzed the stories using a Venn diagram. Finally, Ms. Sneed showed them how to use the information to construct a response.

Using Archetypes for Advanced Learners

That day, Ms. Sneed shared a parallel slideshow with her advanced readers. It showed them how to further analyze the elements in the folktales genre to determine archetypes. This differentiation would allow them to take the activity to the next level.

Giving Kids Plenty of Practice

Over the next few weeks, Ms. Sneed teaching folktales involved compare and contrast five more sets of paired passages . As her students worked, their confidence grew.

Enjoy Teaching Folktales

One day, as Ms. Sneed graded their responses, she looked up. “You guys have really risen to the occasion,” she said, holding up the stack of papers. “Not only have you identified elements and compared them, your paragraphs are getting super sophisticated.” And at that moment, she burst into one of her famous teacher smiles. Yep, she sure did enjoy teaching folktales.

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• Marvels & Tales

Folklore 101: An Accessible Introduction to Folklore Studies by Jeana Jorgensen (review)

• Jennifer Eastman Attebery
• Wayne State University Press
• Volume 37, Number 1, 2023
• pp. 122-124
• 10.1353/mat.2023.a900269
• View Citation

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Essential Resources for Irish Folklore

Irish folklore, with its rich tapestry of myths, legends, and traditions, has long captivated scholars and enthusiasts alike. For those beginning (or continuing!) this fascinating journey of discovery, certain texts and resources stand as indispensable guides, illuminating the path through Ireland’s storied past.

This article delves into a selection of these essential resources, offering insights into their significance and place within the broader context of folklore research in Ireland. See also: The Richness of Irish Folklore .

✨ Post by Lora O’Brien, MA in Irish History

(Many of the following are paid links fyi, it doesn’t cost you to click but it helps us!)

Pioneering Texts in Irish Folklore

The first conscious collector.

Thomas Crofton Croker’s “Fairy Legends and Traditions of the South of Ireland” (1828) represents a pioneering effort in folklore collection, not just in Ireland but in Britain as well. Croker’s work is crucial for understanding the genesis of folklore as a serious academic discipline. [Reprinted Version is Here]

Our First President, a Cultural Nationalist and Scholar

Douglas Hyde’s “By the Fireside” (1890) stands out as a groundbreaking work by a leading Gaelic scholar and cultural nationalist. Although from an Ascendancy family, he learned and spoke Irish himself and collected the folklore directly. Hyde’s collection provides invaluable insight into the oral traditions and folklore of Ireland during a pivotal era. [Reprinted Version is Here]

A Seanchaí’s Legacy

“Leabhar Sheáin Í Chonaill” (1948), translated as “Seán Ó Conaill’s Book” by Máire MacNeill, is a significant volume edited by Séamus Ó Duilearga/James Delargy. It captures the vast storytelling repertoire of a seanchaí (storyteller), preserving a vital part of Ireland’s oral tradition. [Out of Print, See It Here]

Somewhat Questionable Contributions

Lady Gregory’s “Visions and Beliefs of the West of Ireland” (1920), a seminal work of the Irish Literary Revival, offers a rich collection of folklore and local traditions.

Note: Personally, I hesitate to recommend Gregory’s work for anything other than historical value and completeness of this list, due to the sanitisation she inflicted on her source materials to remove the ‘Gaelic Barbarism’ which offended her Ascendancy sensibilities.

For similar reasons of patronising elitism, avoid anything by WB Yeats. There are better sources!

Foundational Analysis

Diarmaid Ó Giolláin’s “Locating Irish Folklore” (2000) is a cornerstone in the academic study of Irish folklore. Ó Giolláin provides a detailed analysis of the historical and social contexts that shaped the field, offering a critical backdrop for understanding the evolution of folklore research in Ireland. [Available Here]

While not specific to Irish Folklore, Jeana Jorgensen’s “Folklore 101: An Accessible Introduction to Folklore Studies” is an excellent primer for any student. It’s a fun, accessible guide to the academic study of folklore which packs in a college class’s worth of material, from basic concepts and major folklore genres to special topics based on identity, fancy theories, and more. [Available Here]

Modern Studies in Irish Folklore

Exploring irish wake traditions.

Seán Ó Súilleabháin’s “Irish Wake Amusements” (1967) provides a fascinating look at funerary beliefs and customs in Irish tradition, showcasing his stature as a giant in folklore scholarship. [Available Here]

Also interesting is Anne Ridge’s “Death Customs in Rural Ireland: Traditional Funerary Rites in the Irish Midlands” (2009). [Available Here]

Seasonal Lore

Kevin Danaher’s classic “The Year in Ireland (Irish Calendar Customs)” (1st 2001, now in 2nd Edition), describes how the round of the year, with its cycle of festivals and seasonal work, was observed in the Ireland of yesterday. [Available Here]

Máire MacNeill’s “The Festival of Lughnasa” (1962) is an exceptional study of seasonal traditions in Ireland, tracing cultural continuities from the earliest history. [Out of Print, possibly Available Here]

An excellent successor to those foundational tomes is Marion McGarry’s “Irish Customs and Rituals: How Our Ancestors Celebrated Life and the Seasons” (2020). This work casts a discerning eye on the mid-19th to the mid-20th centuries, a pivotal era marked by the gradual waning of numerous traditions and beliefs. This period witnessed the fading of many customs steeped in the remnants of pre-Christian lore, which existed alongside, and often in quiet defiance of, the prevailing religious norms, and linger on in the cultural fabric of contemporary Ireland. [Available Here]

Ethnographic Perspectives

Henry Glassie’s “Passing the Time in Ballymenone” (1982) offers a compelling ethnographic study of late 20th-century storytelling traditions in County Fermanagh, reflecting modern methodologies in folklore research. [Available Here]

A regional work from Galway is William Henry’s “Away with the Fairies” (2020). Henry is a historian, archaeologist and author from Galway city, who provides a fascinating local insight into historical and modern folk beliefs in the area. [Available Here]

We couldn’t leave out our favourite Bannerman, Eddie Lenihan, for the perspective from County Clare. The classic from him would be “Meeting the Other Crowd: The Fairy Stories of Hidden Ireland” (2004). [Available Here]

Daithí Ó hÓgáin

Vital for any student of Irish Folklore is the definitive reference book by Daithí Ó hÓgáin, “The Lore of Ireland: An Encyclopaedia of Myth, Legend and Romance” (Reprint 2006). [Available Here]

“The Hero in Irish Folk Tradition” (1985) by Daithí Ó hÓgáin discusses the interplay of history, literature, and folklore in shaping Irish folk heroes, providing a comprehensive view of this aspect of Irish tradition. This one is long out of print, unfortunately, and very difficult to lay hands on.

Complete Study of the Banshee

“The Banshee: The Supernatural Death Messenger” (1986) by Patricia Lysaght is a rigorous academic exploration of one of Ireland’s most iconic folklore figures, exemplifying advanced research methodologies in the field. Again, unfortunately out of print… if you find a copy grab it! [Possibly Available Here]

All About Fairies

To round out the ethnographic studies mentioned above, my own book on the topic is “The Fairy Faith in Ireland: History, Tradition, and Modern Pagan Practice” (2021). The Fairy Faith in Ireland has a long history, from the time of the mythology of the Tuatha Dé Danann through the folklore that arose with the coming of Christianity, and many of those traditions continue still to this day. These beliefs and practices have been studied by many scholars, antiquarians, and folklorists, and are interwoven all through the study of Irish Folklore. [Available Here]

Additionally, I recommend Morgan Daimler’s “Aos Sidhe: Meeting the Irish Fair Folk” (2022), as a concise and accurate introduction to the Aos Sidhe, the People of the fairy mounds, and to Irish fairy beliefs. [Available Here]

Fundamental Irish Folklore Research Tools

The Irish Folklore Commission’s Main Manuscripts Collection and Schools Collection, if you get to the Archive at UCD in person… along with Seán Ó Súilleabháin’s “A Handbook of Irish Folklore” (1942) [Available Digitally Here] , are pivotal resources.

Additionally, “Béaloideas”, the journal of the Folklore of Ireland Society, and digital records of personal interviews in the collections available at Duchas.ie , offer invaluable primary sources for deepening your understanding of Irish folklore.

This selection of texts and resources provides a comprehensive foundation for anyone interested in the study of Irish folklore. Each work, in its own right, contributes significantly to the understanding and appreciation of Ireland’s rich cultural heritage, offering a window into the soul of a nation deeply connected to our past.

✨ For a categorised selection of trustworthy resources on a variety of Irish Spirituality related topics…

Click to Get Your Free Resources Checklist🔗

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• Blended Learning
• Fairy Tales

Education Standards

North carolina english language arts standards.

Learning Domain: Reading: Literature

Standard: Recount stories, including fables, folktales, and myths from diverse cultures; determine the central message, lesson, or moral and explain how it is conveyed through key details in the text.

Comparing Fairy Tales Themes from Around the World

This source provides a two day lesson plan that focuses on reinforcing themes, retelling a sequence of events, comparing/contrasting stories that are told in different cultures. It can be used more than one day easily by changing the assigned fairy tale of focus. The extension activity gives students the opportunity to demonstrate their understanding and application of story elements and standards taught.

Overview:   This source provides a two day lesson plan that focuses on reinforcing themes, retelling a sequence of events, comparing/contrasting stories that are told in different cultures. It can be used more than one day easily by changing the assigned fairy tale of focus. The extension activity gives students the opportunity to demonstrate their understanding and application of story elements and standard taught.

Subject :   English Language Arts

Level:   Upper Primary

Material Type:   Lesson Plan, Formative Assessment, Curriculum, Homework

Time Required:   Multi Day

Author:   Sarah Cavanaugh

Language:   English

Media Format:   Google Docs,  Video, downloadable docs

This lesson includes a (video link) authored by (name of author/website).                                               Youtube : “ How To Find the Theme of a Story ” ; “The Rough Face Girl”                                                                                        

This lesson includes a  (link to text) authored by (name of author/website).                                             “Cinderella” DLTK’s Sites for Kids Growing Together   by Tasha Guenther

Folklore: Critical Concepts in Literary and Cultural Studies. Four volumes

William hansen , indiana university, bloomington. [email protected].

[Authors and titles included in the four volumes are listed within the review.]

Folklore is an extensive compilation of essays devoted to disciplinary history, scholarly pioneers, basic genres, and important theories and concepts in folklore studies, or folkloristics, the latter term distinguishing the study of folklore from the stuff of folklore. The collection appears in Routledge’s series Critical Concepts in Literary and Cultural Studies. All titles in the series — Deconstruction, Modernism, Feminism, Postcolonialism, etc. — bear the same series subtitle.

Distributed over four cloth-bound volumes, the anthology consists of eighty-six essays by scholars from a great variety of lands and scholarly traditions. The papers range in date from 1861 to 2001, coinciding pretty much with the florescence of folkloristics as a modern field of study. Since the organization of the papers is thematic, the editor provides a useful chart in the first volume (xvi-xxiv) that chronicles the essays in the order of their actual publication. All the papers are written in, or have been translated into, English.

Because there are so many papers and because they are all previously published, I will describe the overall nature and content of the compilation, but not evaluate the individual essays.

Each volume is devoted to one of four broad topics. Volume 1 features articles on the concept of folklore and on the development and configuration of the discipline of folkloristics at different times and in different countries. Volume 2 deals with pioneers of the field. Volume 3 treats representative folkloric genres, and Volume 4 focuses upon important theories and methods.

The editor begins Volume 1 with a brief general introduction to the compilation as a whole (xxv-xxvi) and an equally concise introduction to the present volume (1-2), after which he allows each of the twenty-four essays in the volume to speak for itself. For all their brevity Alan Dundes’s introductions here and at the head of the three subsequent volumes do manage to summarize nicely the key concerns of the papers. An index to all eighty-six papers appears in the fourth volume (477-506).

The essays in the initial volume, which is subtitled From Definition to Discipline , wrestle with the difficulty of characterizing the materials and study of folklore. Defining folklore, which still plagues (or energizes) folklorists, is the primary topic of the initial selections, definitions tending to favor either the “folk” or the “lore” in folklore and therefore to emphasize either the nature of the transmitters or the nature of the materials. Subsequent papers are concerned mostly with the institutionalization of folkloristics in different lands, although many papers have something to say on both topics. Thus Boggs (1) presents a standard, mid-twentieth-century view of what folklore is. Folklore is a particular kind of traditional, orally-transmitted culture. It is patterned but not fixed in form, variation being normal and expected. Folk culture is to be opposed to learned culture. In contrast Jacobs (6) and Dick (7) focus less upon the lore than upon the folk. Several papers trace the history of terms such as popular antiquities, folklore, regional (or European) ethnology, folk life, and folkloristics. Still others discuss the development or present state of folkloristics in different places: Germany (16, 17, 18), Scandinavia (13, 14), Ireland (12), Greece (11), Palestine and Israel (19), the Soviet Union (15), North America, Latin America (8, 9), and India and Pakistan (10). After the problem of the authentic and the inauthentic is examined (20, 21, 22), the volume concludes with attention to the question of who owns folklore (23, 24).

The authors and titles of the papers in this volume are (1) Ralph Steele Boggs, “Folklore: Materials, Science, Art”; (2) Dan Ben-Amos, “The Idea of Folklore: An Essay”; (3) Alexander Fenton, “The Scope of Regional Ethnology”; (4) Jorge Dias, “The Quintessence of the Problem: Nomenclature and Subject Matter of Folklore”; (5) Brynjulf Alver, “Folkloristics: The Science about Tradition and Society”; (6) Joseph Jacobs, “The Folk”; (7) Ernest S. Dick, “The Folk and their Culture: The Formative Concepts and the Beginnings of Folklore”; (8) Américo Paredes, “Concepts about Folklore in Latin America and the United States”‘ (9) Lajos Vincze, “Theoretic Trends in the Argentine Folklore”; (10) Trilochan Pande, “The Concept of Folklore in India and Pakistan”; (11) Alke Kyriakidou-Nestoros, “The Theory of Folklore in Greece: Laographia in its Contemporary Perspective”; (12) Bo Almqvist, “The Irish Folklore Commission: Achievement and Legacy”; (13) Lauri Honko, “A Hundred Years of Finnish Folklore Research: A Reappraisal”; (14) Johana Micaela Jacobsen, “Creating Disciplinary Identities: The Professionalization of Swedish Folklife Studies”; (15) Felix J. Oinas, “The Problem of the Notion of Soviet Folklore”; (16) Christa Kamenetsky, “Folklore as a Political Tool in Nazi Germany”; (17) Mary Beth Stein, “Coming to Terms with the Past: The Depiction of Volkskunde in the Third Reich since 1945”; (18) Gottfried Korff, “Change of Name as a Change of Paradigm: The Renaming of Folklore Studies Departments in German Universities as an Attempt at ‘Denationalization'”; (19) Mun’im Haddad, “The Relationship of Orientalism to Palestinian Folklore”; (20) Richard M. Dorson, “Fakelore”‘ (21) Regina Bendix, “Diverging Paths in the Scientific Search for Authenticity”; (22) Guntis Smidchens, “Folklorism Revisited”; (23) E.P. Gavrilov, “The Legal Protection of Works of Folklore”; and (24) Lauri Honko, “Copyright and Folklore.”

The second volume, The Founders of Folklore , is a selection of essays upon persons who figure notably in the historical development of folkloristics. It begins with the late eighteenth-century romantic nationalist Johann Gottfried Herder (25), continues with the Brothers Grimm (26), and proceeds to others. Among the scholars treated here are the Britons Lawrence Gomme (30) and James George Frazer (33), the Germans Max Müller (31) and Wilhelm Mannhardt (32), the Italian Giuseppe Pitrè (34), the Hungarian Béla Bartók (40), the Frenchman Arnold van Gennep (41), the Dutchman Jan de Vries (42), and the Russian Vladimir Propp (44). Notice is also taken of the prodigious Danish collector Evald Tang Kristensen (38) and the gifted Irish informant Peig Sayers (39).

The essays in Volume 2 are (25) William A. Wilson, “Herder, Folklore and Romantic Nationalism”; (26) Jack Zipes, “Once There were Two Brothers Grimm: A Reintroduction”; (27) Bengt Holbek, “Grimm and Grundtvig: A Footnote”; (28) R. Troy Boyer, “The Forsaken Founder, William John Thoms: From Antiquities to Folklore”; (29) Harry Senn, “Folklore Beginnings in France: The Academie Celtique 1804-1813”; (30) Anon., “The Practical Use of Folk Lore: An Interview with Mr. G. Lawrence Gomme”; (31) Robert Jerome Smith, “The Creditable Max Müller”; (32) Tove Tybjerg, “Wilhelm Mannhardt — A Pioneer in the Study of Rituals”; (33) P.W. Filby, “Life Under The Golden Bough”; (34) T.F. Crane, “Giuseppe Pitrè and Sicilian Folk-Lore”; (35) Vilmos Voigt, “Primus inter Pares: Why was Vuk Karadzic the Most Influential Folklore Scholar in Southeastern Europe in the Nineteenth Century?”; (36) Jan Steszewski, “The Credibility of Oskar Kolberg’s Ethnomusicological Collection: A Contribution to the Problem of Historical Criticism”; (37) Ojars Kratins, “An Unsung Hero: Krisjanis Barons and his Lifework in Latvian Folk Songs”; (38) W.A. Craigie, “Evald Tang Kristensen, a Danish Folklorist”; (39) Seán Ó Súilleabháin, “Peig Sayers”; (40) Linda Dégh, “Bartók as Folklorist: His Place in the History of Research”; (41) Harry Senn, “Arnold van Gennep: Structuralist and Apologist for the Study of Folklore in France”; (42) James Danandjaja, “Jan de Vries: Netherland’s Foremost Folklorist (1890-1964)”; (43) Mikako Iwatake, “A ‘Postcolonial’ Look at Kunio Yanagita, the Founding Father of Japanese Folklore Studies”; and (44) Isidor Levin, “Vladimir Propp: An Evaluation on his Seventieth Birthday.”

As a discipline folkloristics is organized partly by folkloric genre, individual scholars typically specializing in one or two geographical regions and one or more genres, much as most classical scholars are either Hellenists or Latinists and have particular subspecialties within their region of preference. The third volume, The Genres of Folklore , consists of papers on a selection of folkloric genres. The editor’s discretion is really two-fold here, for he had to choose first the genres to be represented and then a single essay (in most cases) to represent each one, rather like a classicist’s deciding to include, say, tragedy in a collection of essays on classical literature and being obliged to select a single published essay to speak for it. The first essay deals with folkloric theories of genre generally (45), and the remaining thirteen treat one or another aspect of particular genres, most of them quite familiar: ballads (46), folk dances (47), proverbs (48), riddles (49), superstitions (or folk-beliefs, as folklorists usually prefer to say) and popular religion (51), rituals (52), myths (53), folktales, including fairytales (54), legends, including urban legends (55), epics (57), and games (58). But Dundes also includes a couple of papers on little-known genres such as one on traditional bird-scaring rhymes (50), as a nod to the many minor genres that could not be treated. Volume 3 contains (45) Lauri Honko, “Folkloristic Theories of Genres”; (46) Natascha Würzbach, “An Approach to a Context-Oriented Genre Theory in Application to the History of the Ballad: Traditional Ballad — Street Ballad — Literary Ballad”; (47) Theresa Buckland, “Definitions of Folk Dance: Some Explorations”; (48) Wolfgang Mieder, “‘Proverbs Bring it to Light’: Modern Paremiology in Retrospect and Prospect”; (49) Annikki Kaivola-Bregenhøj, “Riddles and Their Use”; (50) J.B. Smith, “Chew-Hallaw and Buckalee: A Comparative Study of Some Bird-Scaring and Herding Rhymes”; (51) Nicole Belmont, “Superstition and Popular Religion in Western Societies”; (52) Pertti J. Anttonen, “The Rites of Passage Revisited: A New Look at van Gennep’s Theory of the Ritual Process and its Application in the Study of Finnish-Karelian Wedding Rituals”; (53) Robert A. Segal, “In Defense of Mythology: The History of Modern Theories of Myth”; (54) Dan Ben-Amos, “Folktale”; (55) Bengt af Klintberg, “Do the Legends of Today and Yesterday Belong to the Same Genre?”‘ (56) Joe Graham, “The Caso : An Emic Genre of Folk Narrative”; (57) Isidore Okpewho, “Does the Epic Exist in Africa? Some Formal Considerations”; and (58) Alan Dundes, “Traditional Male Combat: From Game to War.”

The longest of the four volumes is the last, Folkloristics: Theories and Methods , which attempts to give a sense diachronically of important folkloric theories and concepts. The selection begins with an anonymous paper, thought to be by Max Müller, that illustrates a comparative Indo-European philologist’s approach to folkloric materials (59). Early comparative approaches to folk customs are exemplified in papers on or by Wilhelm Mannhardt (60), Lawrence Gomme (62), and James George Frazer (63). The unilineal evolutionary theory of the early anthropologists, with its doctrine of survivals, underlies the essay by Andrew Lang (61), as it also does the work of many other nineteenth-century scholars. Considerations on the collecting of folklore are addressed in essays by Bartók (64), Nutt (65), and Fhloinn (66), and cartographic mapping of the distribution of folklore is the subject of two essays (67, 68). Next follows a classic paper by Bogatyrv and Jacobson, “Folklore as a Special Form of Creativity” (69). It is followed by a paper on the notion of the text (70) and two papers on the equally important concept of the motif, one by Ben-Amos (71), the other by Bremond (72). This leads easily into Uther’s survey of recent type- and motif-indices (73), a paper on the concept of the type as applied to proverbs (74), and another on the typology of traditional plowing implements (75). Next come Goldberg’s reflections on the historic-geographic method in folklore (76), serving in effect as an introduction to Roberts’s summary of his historic-geographic investigation of the international folktale known as The Kind and the Unkind Girls (77). Shifting attention from text to context, Ramanujan’s paper on storytelling in India focuses upon live performance (78). Two papers treat important reference works, the monumental Enzyklopädie des Märchens , extending now to eleven volumes (79), and the International Folklore Bibliography (80). The remaining essays touch upon a miscellany of topics, including the influence of the notion of cultural evolution on folkloristics (81), the devolutionary model in folklore theory, according to which folklore is presumed always to be dying out or degenerating (82), biological metaphors in folklore theory (83), the contributions of Antonio Gramsci to folklore theory (84), and the use of folkloric materials in sex education (85), an instance of what folklorists call applied folklore.

The concluding papers are (59) anonymous, “Folk Lore: How it Arose, and What it Means”; (60) W.R.S. Ralston, “Forest and Field Myths”; (61) Andrew Lang, “The Method of Folklore”; (62) G. Lawrence Gomme, “On the Method of Determining the Value of Folklore as Ethnological Data”; (63) Robert Ackerman, “Frazer on Myth and Ritual”; (64) Béla Bartók, “Why and How Do We Collect Folk Music?”; (65) Alfred Nutt, “Monsieur Sébillot’s Scheme for the Collection and Classification of Folk-Lore”; (66) Bairbre N Fhloinn, “In Correspondence with Tradition: The Role of the Postal Questionnaire in the Collection of Irish Folklore”; (67) Richard Weiss, “Cultural Boundaries and the Ethnographic Map”; (68) Robert Wildhaber, “Folk Atlas Mapping”; (69) Peter Bogatyrv and Roman Jacobson, “Folklore as a Special Form of Creativity”; (70) Paul Bouissac, “Poetics in the Lions’ Den: The Circus Act as Text”; (71) Dan Ben-Amos, “The Concept of Motif in Folklore”; (72) Claude Bremond, “A Critique of the Motif”; (73) Hans-Jörg Uther, “Type- and Motif-Indices 1980-1995: An Inventory”; (74) Kazys Grigas, “Problems of the Type in the Comparative Study of Proverbs”; (75) Branimir Bratanic, “A Note on the Typology of Ploughing Implements”; (76) Christine Goldberg, “The Historic-Geographic Method: Past and Future”; (77) Warren E. Roberts, “The Special Forms of Aarne-Thompson Type 480 and Their Distribution”; (78) A. K. Ramanujan, “Tell it to the Walls: Tales about Tales”; (79) Christine Shojaei Kawan, “The Enzyklopädie des Märchens”; (80) Rolf Wilhelm Brednich, “The International Folklore Bibliography”; (81) Gillian Bennett, “Geologists and Folklorists: Cultural Evolution and ‘the Science of Folklore'”; (82) Alan Dundes, “The Devolutionary Premise in Folklore Theory”; (83) Valdimar T.R. Hafstein, “Biological Metaphors in Folklore Theory: An Essay in the History of Ideas”; (84) Michael R. Marrus, “Folklore as an Ethnographic Source: A ‘Mise au Point'”; (85) Moyra Byrne, “Antonio Gramsci’s Contribution to Italian Folklore Studies”; and (86) Elissa R. Henken and Mariamne H. Whatley, “Folklore, Legends, and Sexuality Education.”

The late Alan Dundes (1934-2005) was a masterful and exhaustive bibliographer who compiled numerous scholarly anthologies in the course of his career. 1 What does he wish to achieve in the present compilation? He manifestly does not seek to make a gathering of current, cutting-edge work in folkloristics; indeed, many of today’s most influential folklore scholars are not directly represented here at all. Nor does he bring together a collection of classic essays, a showcase of the best that the discipline has produced over time, for only a few of the essays might so qualify (for example, 20, 69, 82). Rather he attempts a characterization of the discipline of folklore diachronically (its founders and pioneers, its institutionalization internationally, the important theories that have given impetus and meaning to its research) and synchronically (the major genres of folklore, the influential concepts, its dominant methods), and does so by letting folklorists and related scholars present and past, on this continent and abroad, speak for themselves. In my view he succeeds, for the work gives a realistic portrait of a relatively small but worldwide scholarly field that provides an engaging and honest sense of its range and variety, its struggles, its personalities, its issues and methods.

Some unevenness of presentation is inevitable in the compilation because the pieces are all found essays, as it were, and not commissioned for the present work, but what is lacking in consistency of format and style is perhaps balanced by the enjoyable variety and lack of predictability in the papers. The same cannot be said about unevenness of coverage. At most a passing mention is made of so important a genre as folk drama, and the vast subfield of material culture receives very little attention.

Every generation of classicists includes scholars who take a serious interest in aspects of Greek and Roman folklore (traditional narratives, oral poetry, proverbs, festivals, folk beliefs, etc.). Few of them have had an opportunity to take courses in folkloristics. Nor is it as easy nowadays as it once was for classical scholars to dip casually into the scholarly literature of folklorists. Earlier folkloristically-oriented classicists such as Ludwig Radermacher, Wolf Aly, W. R. Halliday, and H. J. Rose worked at a time when classical scholars and folklorists spoke the same language, all of them sharing a background in philology; that is no longer the case. But now the present generation of folklorist-classicists can turn to Dundes’s four-volume compilation for a basic introduction to the discipline, employing it as a sort of distance-learning text addressed to folklorists and non-folklorists alike.

A number of mostly minor typos, especially in foreign words, are found throughout the volumes. Some of them of course may reproduce errors in the original publications, but others (such as misspelled scholarly names) presumably do not.

1 . Of particular interest to classical scholars is Oedipus: A Folklore Casebook (New York and London: Garland, 1983), co-edited by classicist Lowell Edmunds and folklorist Alan Dundes.

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Flickr user Keith Ewing, Creative Commons . Adapted by JoDee Scissors

• Myths, Legends, & Folktales

Writing Folktales What are the key characteristics of a folktale?

In this 6-8 lesson, students will analyze the characteristics of traditional folktales to write an original tale. They will use elements of folktales to develop their story and strengthen work through the writing process.

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Lesson Content

• Preparation
• Instruction

Learning Objectives  

Students will: 

• Ask and answer questions about classic folktales.
• Recall details from a text and illustrations.
• Identify, examine, analyze, and evaluate folktales.
• Incorporate the elements of traditional folktales in original folktales.
• Write for literary purposes and for a variety of audiences: peers, teachers, parents, school-wide community, and beyond.
• Prewrite, draft, revise, and proofread as part of the strategic approach to effective writing.

Standards Alignment

National Core Arts Standards National Core Arts Standards

MA:Cr1.1.6 Formulate variations of goals and solutions for media artworks by practicing chosen creative processes, such as sketching, improvising and 

MA:Cr1.1.7 Produce a variety of ideas and solutions for media artworks through application of chosen inventive processes, such as concept modeling and prototyping.

MA:Cr1.1.8 Generate ideas, goals, and solutions for original media artworks through application of focused creative processes, such as divergent thinking and experimenting.

MA:Cr2.1.6 Form, share, and test ideas, plans, and models to prepare for media arts productions.

MA:Cr2.1.7 Discuss, test, and assemble ideas, plans, and models for media arts productions, considering the artistic goals and the presentation.

MA:Cr2.1.8 Generate ideas, goals, and solutions for original media artworks through application of focused creative processes, such as divergent thinking and experimenting

MA:Pr5.1.6c Demonstrate adaptability using tools and techniques in standard and experimental ways in constructing media artworks. 

MA:Pr5.1.6c Demonstrate adaptability using tools and techniques in standard and experimental ways to achieve an assigned purpose in constructing media artworks. 

MA:Pr5.1.6c Demonstrate adaptability using tools, techniques and content in standard and experimental ways to communicate intent in the production of media artworks.

MA:Pr6.1.6a Analyze various presentation formats and fulfill various tasks and defined processes in the presentation and/or distribution of media artworks.

MA:Pr6.1.7a   Evaluate various presentation formats in order to fulfill various tasks and defined processes in the presentation and/or distribution of media artworks.

MA:Pr6.1.8a Design the presentation and distribution of media artworks through multiple formats and/or contexts.

TH:Pr6.1.6.a Adapt a drama/theatre work and present it informally for an audience.

TH:Pr6.1.7.a Participate in rehearsals for a drama/theatre work that will be shared with an audience.

TH:Pr6.1.8.a Perform a rehearsed drama/theatre work for an audience. 

VA:Cr2.1.6a Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design.

VA:Cr2.1.7a Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art or design. 

VA:Cr2.1.8a Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of artmaking or designing.

Common Core State Standards Common Core State Standards

ELA-LITERACY.W.6.3 Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences.

ELA-LITERACY.W.6.3.A Engage and orient the reader by establishing a context and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

ELA-LITERACY.W.6.3.B Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters.

ELA-LITERACY.W.6.3.C Use a variety of transition words, phrases, and clauses to convey sequence and signal shifts from one time frame or setting to another.

ELA-LITERACY.W.6.3.D Use precise words and phrases, relevant descriptive details, and sensory language to convey experiences and events.

ELA-LITERACY.W.6.3.E Provide a conclusion that follows from the narrated experiences or events.

ELA-LITERACY.W.6.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. 

ELA-LITERACY.W.6.5 With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach. 

ELA-LITERACY.W.6.6 Use technology, including the Internet, to produce and publish writing as well as to interact and collaborate with others; demonstrate sufficient command of keyboarding skills to type a minimum of three pages in a single sitting.

ELA-LITERACY.W.7.3 Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences.

ELA-LITERACY.W.7.3.A Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

ELA-LITERACY.W.7.3.B Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters.

ELA-LITERACY.W.7.3.C Use a variety of transition words, phrases, and clauses to convey sequence and signal shifts from one time frame or setting to another.

ELA-LITERACY.W.7.3.D Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events.

ELA-LITERACY.W.7.3.E Provide a conclusion that follows from and reflects on the narrated experiences or events.

ELA-LITERACY.W.7.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1-3 above.)

ELA-LITERACY.W.7.5 With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on how well purpose and audience have been addressed. (Editing for conventions should demonstrate command of Language standards 1-3 up to and including grade 7 here.)

ELA-LITERACY.W.7.6 Use technology, including the Internet, to produce and publish writing and link to and cite sources as well as to interact and collaborate with others, including linking to and citing sources.

ELA-LITERACY.W.8.3 Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences.

ELA-LITERACY.W.8.3.A Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

ELA-LITERACY.W.8.3.B Use narrative techniques, such as dialogue, pacing, description, and reflection, to develop experiences, events, and/or characters.

ELA-LITERACY.W.8.3.C Use a variety of transition words, phrases, and clauses to convey sequence, signal shifts from one time frame or setting to another, and show the relationships among experiences and events.

ELA-LITERACY.W.8.3.D Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events.

ELA-LITERACY.W.8.3.E Provide a conclusion that follows from and reflects on the narrated experiences or events.

ELA-LITERACY.W.8.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1-3 above.)

ELA-LITERACY.W.8.5 With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on how well purpose and audience have been addressed. (Editing for conventions should demonstrate command of Language standards 1-3 up to and including grade 8 here.)

ELA-LITERACY.W.8.6 Use technology, including the Internet, to produce and publish writing and present the relationships between information and ideas efficiently as well as to interact and collaborate with others.

Recommended Student Materials

Editable Documents : Before sharing these resources with students, you must first save them to your Google account by opening them, and selecting “Make a copy” from the File menu. Check out Sharing Tips or Instructional Benefits when implementing Google Docs and Google Slides with students.

• Vocabulary: Folktales  
• Qualities of Folktales
• Types of Folktales
• Criteria for Success: Original Folktale
• Original Folktale Tips  
• Original Folktale Organizer
• Slide: Original Folktale Template
• Original Folktale Book Template
• HablaCloud: ChromeMP3 Recorder

Teacher Background

Teachers should be familiar with traditional folktales and be able to identify common elements. Preview and familiarize yourself with the digital tools related to the lesson. Display an example folktale text around the room or visit American Folklore for digital text examples. Explore Art and Life of William Johnson and Brothers Grimm . 

Book Recommendations:

Cole, Joanna. Best Loved Folktales of the World . Wilmington, NC: Anchor Publishing, 1983.

Mallet, Jerry and Keith Polette. World Folktales . Fort Atkinson: Alleyside Press, 1994.

Student Prerequisites

Students should have an understanding of the peer editing process. They should be familiar with basic story elements including characters (flat versus round), characterization, plot, setting, and dialogue. 

Accessibility Notes

Modify handouts and give preferential seating for visual presentations. Allow extra time for task completion.

• Begin by sharing a traditional folktale with students. You may use personal, school, or digital books. Read or even act out the folktale.
• Create a class generated summary to check for understanding.
• Without naming the characteristics, help students determine the story elements from the folktale: What were the characters like in the folktale I just read? Describe the lives lived by the characters. Did the characters seem to have depth? Would you say they were well developed? What was the characters ’ speech like? You may want to record answers and use the Qualities of Folktales resource.
• Now that students have been introduced or re-introduced to folktales, prepare to help them identify, analyze, and evaluate the genre. Introduce and display  Vocabulary: Folktales . Tell students to reference it, as necessary, throughout the lesson.
• Review the vocabulary terms as a group. Provide examples of each. An example of “traditional” might be an annual family reunion or baking cookies for a special occasion. Ask students to provide additional examples to demonstrate understanding. (Note: clarify the meaning of motif as it is closely related to the main idea. Main idea that it is the “main reason” a text is written. Asking questions can help students monitor and clarify their thinking. Why did the author write this? What does he or she want me to know? What patterns do you notice in the story? )
• Explain that folktales come in all sorts of shapes and sizes. Define, discuss, and display the many Types of Folktales . 
• If time permits, share examples of the different types of folktales.  “The Princess and the Frog” is an example of a fairy tale, which is a type of folktale.
• Now explain to students that they will be writing original folktales; but before doing so, review the Criteria for Success: Original Folktale and Original Folktale Tips . 
• Allow students time to brainstorm original ideas for their folktales. Use the Original Folktale Tips resource for writing support. 
• Give students ample time to create their folktales using the Original Folktale Organizer . Confer with students to provide feedback on their writing. Encourage them to use the print and digital text folktales as references. 
• Once students have completed a rough draft, have partners revise and edit each other’s drafts. This process may repeat itself as students apply suggestions and revise their work. Remind students of the elements characteristic of a folktale. Have students refer to the Original Folktale Criteria for Success during peer edits.
• Have students make revisions as necessary and produce their final draft. Once students are finished, have them create a digital book using presentation software like Slide: Original Folktale Template or Powtoons . They can also create a book with original illustrations using the Original Folktale Book Template . They may use colored construction paper, white copy paper, crayons, markers, glue, scissors, watercolors, tempera paint, string, and a hole punch to create a book. Students can type or handwrite their folktales on a template. Then create a front and back cover using the colored construction paper. Compile the contents and covers, punch holes near the spine, and tie string through each hole to secure the book.
• Add music and voiceover to books made with media tools. Students can use royalty-free sites like Bensound to include music or add voiceover using the voice recorder or microphone tools on student devices. HablaCloud: ChromeMP3 Recorder is a Google Extension option if using a Chromebook.

Reflect  

• Ask students to share or perform their folktales for the class. As a group, provide positive feedback for each folktale.
• Lead a class discussion that summarizes the folktale lesson. Point out key points, orally assess understanding, and ask students to express their likes, dislikes, and any lingering concerns. 
• Assess students’ knowledge of folktales using the Criteria for Success: Original Folktale .

Original Writer

Andria Cole

JoDee Scissors

November 1, 2021

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Collection Myths, Legends, & Folktales

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Types of Folktales Mini Lesson - Introduction to Genres of Folklore - PowerPoint

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Description

This introduction presents five types of folktales: myth, legend, fairy tale, fable, and tall tale. After the characteristics of the genre are listed, a well-known example is given and elements (characters, setting, plot) are explored. The mini lesson is available in two formats: PowerPoint and Google Slides.

Open the preview to get a closer look.

The slideshow introduces the overarching genre and each type.

• Folktales  – folk (people) + tales (stories) Folktales are fictional stories told by people with a shared culture. These stories are part of a culture’s folklore.
• Myths  – Myths are ancient stories. Some explain natural phenomenon or beliefs. Others teach lessons. Characters often possess superhuman powers. Stories of Medusa are myths.
• Legends  – A legend is a story with basis in fact. The story may have been exaggerated or changed. Legends may also explain natural phenomena or teach lessons. Stories of Johnny Appleseed are legends.
• Fairy Tales  – A fairy tale is a children’s story that involves magic. It usually has a strong theme of good versus evil. Fairy tales usually have happy endings and teach lessons. “Cinderella” is a fairy tale.
• Fables  – A fable is a short story that teaches a lesson. Animals in fables may take on human characteristics. “The Tortoise and the Hare” is a fable.
• Tall Tales  – A tall tale is filled with exaggeration. Characters may be bigger than life or have superhuman abilities. Tall tales generally tell impossible stories that are funny. Stories of Paul Bunyan are tall tales.

For each genre of folklore, three additional slides take a deeper dive into characters, setting, and plot.

Two note-taking sheets are also included.

• A table for open-ended notes on each genre.
• A table for listing information about characters, setting, and plot of each type of folktale.

Enjoy teaching!

Brenda Kovich

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Exploring Literary Genres for High School

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Have you ever found yourself lost in a book, completely immersed in a story that takes you to another world or time? If the answer is yes, then you know the power of literature and its ability to transport us to different places and experiences. But have you ever stopped to consider what genre that book falls under? Your teacher will tell you for sure, as he or she will have used our template to prepare the lesson. Yeah, this blue-colored design has nice slides with which to introduce different literary genres, and even comes with examples of exercises for the students. If it's about literature and reading, we like it!

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Comparing and Contrasting Genres

Jul 20, 2014

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Comparing and Contrasting Genres. Test Prep Tuesday. Comparing/Contrasting Genres.

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• his duffle bag
• prep tuesday
• patriot love
• venn diagram answer

Presentation Transcript

Comparing and Contrasting Genres Test Prep Tuesday

Comparing/Contrasting Genres A reluctant hero saves a village. An unhappy kid learns a secret that changes his life. How many books or movies have you seen with one of these storylines? Many “new” stories are actually old stories retold in new ways, and sometimes in a different genre.

Comparing/Contrasting Genres A genre is a specific category of literature, such as poetry, drama, fantasy, or historical fiction.

Theme A theme is the larger message of a text. It is a phrase, not a word. What is the theme of “The Tortoise and the Hare”? What about “The Boy Who Called Wolf?” How do these two texts compare and contrast?

Draw a Venn Diagram on the back of the blue sheet

To Fight Aloud Is Very Brave by Emily Dickinson 1 To fight aloud, is very brave, But gallanter, I know, Who charge within the bosom, The Cavalry of Woe, 5 Who win, and nations do not see, Who fall—and none observe, Whose dying eyes, no Country, Regards with patriot love, 10 We trust, in plumed procession For such, the Angels go, Rank after Rank, with even feet, And Uniforms of Snow.

-What is the genre of this text? Write it above the left-hand side of your Venn Diagram Answer the following in the left-hand side of your Venn Diagram: -What is the topic of the poem? -What is the theme, or main message?

Brave Soldiers by Lin Mori When Tasha came downstairs early Saturday morning, her father was dressed in full military uniform. His duffle bag was leaning against the front door, and his smile didn’t seem quite real. When he kneeled down, Tasha fit into his arms like a key in a lock. “Remember,” he said calmly, “that it’s my job to protect our country, and it’s your job to be strong and brave at home.” Tasha nodded in agreement, but she could feel her eyes swelling. Some tears escaped, but Tasha knew she couldn’t show her father how afraid she was. She would have to be brave for him now, and for herself, until he returned.

-What is the genre of this text? Write it above the right-hand side of your Venn Diagram Answer the following in the right-hand side of your Venn Diagram: -What is the topic of the short story? -What is the theme, or main message?

How does the story approach the topic of bravery? Complete the Venn Diagram on the back of your blue sheet by adding details comparing and contrasting the poem and the short story.

Question #1 • A: What does oppressive mean? • B: Before We Were Free does not mention scientific development • C: They do not mention fitting in at school • D: Before We Were Free does not address the importance of music

Question #1 • Oppressive means brutal or harsh • Answer A is correct because: • Anita’s family keep their political beliefs in secret to avoid notice by the dictatorial government • Raven’s world the government arrests people who play or listen to music

Question #2 A: Neither Anita’s father nor Raven accept things they disagree with B: C: Anita’s father and Raven and her classmate DO challenge people in power, but it is NOT foolish or childish D: Characters is both stories endure unfair treatment, but demonstrate courage and bravery (not weakness)

Question #2 Answer B is correct because: • Anita’s family’s defiance of the government’s authority shows a bravery that is not apparent to the outside world • Raven’s listening to musical notes in her head shows her secret defiance to authority

Question #3 A: While the second story shows a moment of courage, the first story takes place in one evening--not over a long period of time B: Both stories show courage as a good quality, not a problemC: Both stories show the courage of group: Anita’s family in the first; Raven and classmates in second

Question #3 Answer D is correct because: • Anita’s family courageously keeps their beliefs secret • Raven braces authority by humming in class, leading others to join her

On the back of your blue sheet... What is a reward you would like to see for the winning team? Is there something a teacher could do as a penalty (NOT EATING DOG FOOD!)

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