Early Childhood Education Journal, Vol. 28, No.

2, 2000

Storytelling for Young Children in a Multicultural World

Mary F. Lenox1,2

Early childhood educators are challenged to introduce children to the world of their future, a world
that is and will increasingly become multicultural and multiracial. Storytelling is a powerful tool
to promote an understanding of self and others. Readers are informed of the selection criteria for
identifying stories to tell to young children from the colorful tapestry of Asian American, African
American, Hispanic, and Native American heritages. Key questions to ask and answer in selecting
culturally sensitive stories are also discussed, including the elements of character development,
prejudice reduction, authority and authorship, and language. A storytellers sampler of selected
stories for preschool and primary-age students is included in the annotated bibliography. Reference
sources for educators on storytelling techniques and strengthening understanding of multicultural
perspectives are also described.
KEY WORDS: storytelling; ethnic and racial diversity; multicultural stories; multiracial.

INTRODUCTION

to break down cultural barriers while building bridges

to understanding.

Early childhood educators are challenged to introduce children to the world of their future, a world that
is and will increasingly become multicultural and multiracial. Storytelling can be a powerful resource to promote an understanding of racial and ethnic diversity. For
decades researchers have shown that preschool and primary grade children are often well aware of, and may
assume, the racial attitudes of parents and others around
them. Children glean ideas, images, attitudes, and
perceptions from television, picture books, stories,
and the words and behaviors of peers, caregivers and
others in their environment. Thus, the early developmental stages of young children are an ideal time to engage their minds and hearts and to build attitudes of
appreciation and respect for those unlike themselves.
Storytelling can also be a fun-filled way to inspire an
interest in learning while expanding awareness and
knowledge of todays diverse environment. It can help

The Gift of Storytelling

Baker and Greene (1977) suggest that, telling a
story is giving a gift . . . storytelling brings to the listeners heightened awarenessa sense of wonder, of mystery, of reverence for life (p. 17). Indeed, storytelling
is a gift of understanding of self and others, and understanding the story itself. By extending its purpose to that
of promoting diversity, it becomes a means to understanding the diversity of life. Diversity is the norm in
all of nature from the distinct stripes of each zebra
to the unique DNA of each person. Moreover, within
each human being are such various, interrelated elements as body, mind, spirit, and emotions. Wong (1991)
suggests that diversity is the highest common denominator, where difference is an enriching resource that
leads to a fuller understanding of what is universally
true (p. 53).
In this context, the story hour becomes the platform
for preparing children for life and to live in harmony
with others in this dynamic world. It would be ideal for
children to receive the gift of storytelling at an early age.

College of Education, University of MissouriColumbia.

Correspondence should be directed to Mary F. Lenox, 118 Hill Hall,
University of Missouri-Columbia, Columbia, Missouri 65211; e-mail:
libmfl@showme.missouri.edu

97
1082-3301/00/1200-0097$18.00/0 2000 Human Sciences Press, Inc.

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The challenge is to identify appropriate stories to meet
the dual objectives of sharing a wonderful story and introducing concepts of diversity.
Selecting Multicultural Resources for Storytelling
with Young Children
Selecting the appropriate stories to tell to children
is the first and most important dimension of storytelling.
The wide array of stories might include fiction, folktales, myths, legends, and other narratives. The story
must appeal to the teller, inspiring interest in the commitment to do what is necessary to bring the story to
life. How does one begin this complex process? There
are several steps, as identified in the following guidelines.
Select Stories that Recognize and Acknowledge Unique
Traditions, Customs, and Beliefs of Various Ethnic and
Racial Groups
In this article, the contextual framework for selecting stories is the intentional process of identifying those
that illustrate the landscape of ethnic and racial diversity. This imperative requires a familiarity with the customs, values, and traditions of the people from which
the stories come. It is also recognizing the fact that, historically, stories have been a major way to maintain cultural cohesiveness and ethnic identity through the everexpanding homogenization of culture.
Although there are numerous ethnic and racial
groups within the overarching mosaic of cultures within
the United States, each has its unique points of view
and ways of being in the world. Thus, it is important to
understand, for example, that Native Americans place
great value in recognizing the more than 200 ethnic
groups within the sphere of Native American nations.
Their stories are a real window to their uniqueness. In
this regard, the outstanding author and Native American
storyteller Joseph Bruchac points to the notion that it is
important to seek out books that depict characters from
a well-defined individual native nationas opposed to
generic Indians (Ford, 1998, p. 47). Moreover, while
the Hispanic cultural identity is preserved through the
commonality of the Spanish language and family traditions devoted to maintaining family cohesiveness, there
is a rich diversity of perspectives within the Hispanic
culture ranging from immigrant stories from Cuba and
Mexico to those from South America and Spain. Thus,
the child who has emigrated from Mexico will have a
very different world view than a child from Guatemala,
or a second generation Mexican American, even though
each may share the common language.

Lenox
In Hispanic culture, family ties are important connectors to their cultural values. Diamond and Moore
(1995) pointed out that in the Hispanic tradition, the
family becomes the keeper of the culture (p. 26). By
examining values and attitudes toward the family, one
gains deeper insight into the rich Hispanic culture and
heritage. Extended families are also powerful influences
on attitudes and behaviors with variations in roles and
expectations. These distinctions are important to recognize in identifying and telling stories to children. Similarly, Asian Americans have evolved from many lands.
For example, their cultural roots from Vietnam, China,
and Japan reflect a wide array of diverse cultural elements indigenous to each.
African Americans are from the continent of Africa, whose complex heritages have existed through
thousands of years since the earliest links to humankind.
For the most part, ancestors of African Americans were
taken out of the region of West Africa. This region includes Nigeria, the Ivory Coast, Liberia, Sierra Leone,
and the Gold Coast. They descend from such ethnic
groups as the Yoruba, Ibo, Fulani, and Hausa from the
nation now known as Nigeria. They are also from the
region known as Ghana, which is dominated by such
ethnic groups as the Ashanti, Fanti, Ga, Ewe, as well as
the kinship group, Mende, found in the nation of Liberia. The outstanding author and storyteller Verna Aardema gives insights into the Ashanti cultural traditions in
her story, Anansi Does the Impossible: An Ashanti Tale
(1997). African influence is also evident in stories from
the Caribbean, Brazil, and other Latin American countries. The wealth of cultural and ethnic symbolism embedded within stories from the African American experience is also reflected through the richness of southern,
urban, and rural experiences in the United States before,
during, and after the slavery era.
Recognize the Qualities of a Good Story
A good story for the telling has a natural rhythmic
flow of beginning, middle, and end. Its essence is evident in a well-developed plot, believable characters, creative word images, and the use of humor or drama in
its appeal to the imagination and emotions of the child.
Language is the conduit for both the storys context and
content, delineating the plot, conflicts, feelings, and
characters within a cohesive framework designed to capture attention and interest. Character development is sustained through the synergy between symbolism, imagination, and dialogue. For the storyteller, a good story
becomes a part of the interior spaces of the teller where
emotions, style, and characterizations blend with voice,

Storytelling for Young Children

expression, and the storys content to create an exciting
journey for the listener (For a classic description of the
meaning of stories, see the bibliography.)
Locate Sources of Stories
A wide range of resources now exists relative to
storytelling, from print and electronic media to stories
on tape as told by outstanding storytellers. Where does
one begin to find stories for storytelling? An educator
can:
Search for sources of materials in libraries and
museum bookstores.
Libraries are often acknowledged as treasures of
books and stories, but often overlooked are the libraries
and bookstores of our nations museums. For example,
the museum bookstore at Fort Laramie, Wyoming, the
historic site where thousands of immigrants stopped for
supplies along the Oregon trail, has an excellent collection of stories of Native American experiences in print
and on audiotape as told in their own voices. [A mailorder catalog listing all of the resources available at the
bookstore may be obtained by contacting the Fort Laramie Historical Association, P.O. Box 218, Fort Laramie,
WY, 82212, 1-800-321-5456 or (307)-8378-2662.]
Explore websites on the Internet focusing on storytelling resources such as:
Bulletin of the Center for Childrens Books: http://
edfu.lis.uiuc.edu/puboff/bccb/o497doz.html
Instructor Magazines, How to Choose the Best
Multicultural Books: http://www.instructor.com/curriculum/langarts/reading/multicultural.htm
Storytelling in the Elementary Classroom: http://
www.indiana.edu/eric_rec/ieo/bibs/story.html
Childrens Literature Webguide: http://www.acs.
ucalgary.ca/dkbrown/index.html
North American Native Author Catalog: http://
nativeauthors.com
Korean Folktales: http://www.lg.co.kr/public_html/
index.htm
Center for the Study of Books in Spanish for Children and Adolescents: http://www.csusm.edu/campus_
centers/csb/
Attend storytelling festivals as sponsored by national, state, and local organizations
The National Storytelling Association (formerly
known as the National Association for the Preservation
of Storytelling) is a source of information for technique,
sources of stories, and a place to identify professional
storytellers. It also sponsors an annual storytelling festival in Jonesborough, Tennessee, where storytellers from
all over the world meet to hear and tell stories to each

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other. Here one can be exposed to regional stories from
different ethnic and cultural groups as well as the rich
range of stories for children and adults alike (for further
information try the websites, National Storytelling Association at http://www.storynet.org and Mo-Tell: A Missouri Storytelling Association at http://www.motell.org).
Invite storytellers to the classroom
In addition to the teacher telling stories, there is an
opportunity to expose children to outstanding storytellers through their personal appearances as well as
through the use of audiotapes. For example, Jackie Torrence, author of Jackie Tales, provides a rich resource
of stories from her own African American experiences
on audiotapes. She is also available for professional appearances to schools and libraries. These events may be
cosponsored in partnership with your local school or
public librarian who can also help in identifying storytellers from various ethnic and racial groups available to
share their storytelling expertise. The support and sponsorship of visiting storytellers will expand the opportunity to observe excellent storytelling technique while
learning new stories with broad appeal. Parents, grandparents, and other community participants are also valuable sources of stories from various cultural perspectives, for they speak from their own experiences.
Key Questions One Should Ask in Selecting Stories
from Diverse Cultures to Tell to Young Children
In identifying and selecting stories from diverse
cultures, it is important to consider the following elements: character development; cultural sensitivity to
place; attitudes, perceptions, and prejudice reduction;
authority and authorship; and language.
Character Development
Characters exhibit a unique perspective on the
world, based on everyday experiences and specific details of language style, family interaction, religious practice and other qualities that reflect the cultural behaviors
of a group (Diamond & Moore, 1995, p. 44).
Does the story use authentic names for the characters?
Are the characters developed within the social and
cultural framework so as to acknowledge similarities
and differences?
Do the characters have distinguishing traits or qualities?
Are the characters believable?
Cultural Sensitivity to Place
Geographical location influences cultural development. For example, stories from the Appalachian region

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of the United States reflect the cultural nuances of that
region.
Where does the story take place?
Is there a recognizable, unique cultural and/or ethnic
dimension of place in the story?
In the context of place as an element of cultural diversity, what makes the story different from and/or similar
to other multicultural stories from other geographical locations?
Is the setting described in an authentic way?
Attitudes, Perceptions, Prejudice Reduction
Since attitudes, perceptions, and prejudice are influenced by the environment, these can be changed in
the learning process.
Does the story avoid stereotypes while at the same
time acknowledging the cultural and racial differences?
Is there an attitude of equity and inclusiveness in the
story, as appropriate?
Is there evidence of stereotypes?
Who holds the power in the story?
What cultural and ethnic assumptions are made about
the story or its characters?
In selecting, reading, and telling the story, what images come to mind?
Is being different considered to be a positive or negative attribute?
Authority and Authorship
Authority is born of knowledge, expertise, and personal experiences. Writers from different ethnic backgrounds can share the richness of their heritage while
sharing their knowledge through stories.
Has the author written from his own cultural experiences or is the author an authority on the story he or she
has written?
How does the author handle concepts of differences?
How does the author handle the concept of the common bond of all humanity?
Language
The beauty and flow of language are the mechanisms
for telling the story, and therefore, it must be well written to
capture the imagination, heart, and spirit of the young listener. It should also lend itself to oral transmission.
Does the choice of words assist in conveying the
unique cultural elements?
Does the story have a ring of authenticity?
In what language is the story told?
Does the story use words and phases from various
ethnic and racial groups, as appropriate?

Lenox
SUMMARY
Helping children to accept differences by exposing
them to stories from various cultural perspectives
through storytelling can also be a way to create a community of learners who accept and appreciate each other
as well as those from very different environments. Early
exposure to ideas from other cultures enables children
to broaden their horizons rather than live and think in
isolation.
Through the careful selection of stories, the teacher
can expose children to various points of view, different
traditions, and a range of ideas, customs, and beliefs different from their own. These types of stories can be a
powerful means to set children on the road to a future
of openness to the world in which they live and an acceptance of difference as a familiar and expected way
of being in the world.
BIBLIOGRAPHY: A STORYTELLERS
SAMPLER
Of all our reasons for telling and hearing stories . . .
here are ten: Stories entertain us; create community;
help us to see through the eyes of other people; show
us the consequences of our actions; educate our desires;
help us to dwell in place; help us to dwell in time; help
us to deal with suffering, loss, and death; teach us how
to be human; and acknowledge the wonder and mystery
of Creation.
Scott Russell Sanders (1997, p. 115)

There are a number of resources available to support storytelling for young children in a multicultural
world. While these in no way encompass the universe
of all that is available, the list can be used as a beginning
point for selecting appropriate stories for the telling and
to strengthen storytelling technique. It is divided into
three parts. Part 1 lists stories from the African American, Asian American, Hispanic, and Native American
experiences; Part 2 identifies examples of classic tales
retold from the point of view of various ethnic groups;
and Part 3 provides recommended reference sources including information on storytelling technique, stories
with multicultural/cross-cultural perspectives, and research in multicultural education.
Part 1: Stories from Selected Ethnic and Racial
Groups
African American
Aardema, V. (reteller). (1975). Why mosquitoes buzz in
peoples ears: A West African tale. Pictures by L.
and D. Dillon. New York: Dial.

Storytelling for Young Children

A delightful tale, with beautiful illustrations, as retold by an outstanding storyteller and author.
Belton, S. (1998). From Miss Idas porch. Illustrated by
F. Cooper. New York: Aladdin Paperbacks.
When the grownups congregate on the eponymous
porch and reminisce about seeing Duke Ellington and
Marion Anderson, the narrator and her girlfriend soak
up the lore of greatness and gain insight into the history
of racial segregation.
Courlander, H., & Herzog, G. (1946). The cow-tail
switch and other West African stories. Drawings by
M. L. Chastain. New York: H. Holt.
A renowned folklorist, Courlander collected many
of these stories, proverbs, and parables full of humor
and wit that originated from Liberia, Nigeria and other
ancestral homelands.
Day, N. R. (1995). The lions whiskers. New York:
Scholastic.
Reflecting the universal truths of love and courage,
this Ethiopian folktale tells the story of the unusual steps
a mother will take to win the love and trust of her new
stepchild.
Hamilton, V. (1995). Her stories: African-American
folktales, fairy tales, and true tales. New York: Blue
Sky Press.
Magic, animals, and the supernatural are among the
themes with a female focus in this collection of 19 stories by a well-known African American author.
Lester, J. (1987). The tales of Uncle Remus: The adventures of Brer Rabbit. Illustrated by J. Pinkney. New
York: Dial.
Forty-eight authentic folktales highlight the adventures of Brer Rabbit in a collection of witty, philosophical stories from the days of slavery and beyond, including the classic, Brer Rabbit and the Tar Baby.
McKissack, P. (1986). Flossie and the fox. Illustrated by
R. Isadora. New York: Dial.
A cunning fox is no match for the courageous African American girl he encounters in the woods in this
delightful story set in the rural south.
Tate, E. E. (1994). Front porch stories at the one-room
school. Illustrated by E. Velasquez. New York: Dell.
Ten tales told by 12-year-old Margie Carsons father to a schoolroom full of enraptured neighbors are
drawn from the authors memories of her life in smalltown Missouri.
Tate, E. E. (1997). Dont split the pole: Tales of downhome folk wisdom. Illustrated by C. Van Wright and
Y. Hu. New York: Delacourt.
Each tale dramatizes the hard-earned wisdom of a
folk proverb through the humorous, homey, and sometimes supernatural tribulations of young protagonists.

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Young, R., & Young, J. (1993). African American folktales for young readers. Little Rock, AR: August
House.
A compilation of 34 favorite stories from African
and African American storytellers with an emphasis on
delighting the minds and hearts of young children.
Asian American
Nhuong, H. Q. (1982). The land I lost: Adventures of a
boy in Vietnam. New York: Harper & Row.
Original stories from the childhood experiences of
a former Vietnamese soldier now living in the United
States as a consequence of a spinal cord injury suffered
on the battlefields during the Vietnam War. His stories,
from his native village in the central highlands of Vietnam, tell of his adventures and that of his family with
real crocodiles, pythons, and his pet buffalo.
Livo, N. J., & Cha, D. (1991). Folk stories of the
Hmong: Peoples of Laos, Thailand, and Vietnam. Englewood, CO: Libraries Unlimited.
A highly recommended collection of stories celebrating the culture and folklore of three Asian nations,
including full-color photographs of Hmong dress and 27
stories appealing to children.
MacDonald, M. R. (Ed.). (1995). Thai tales: Folktales
of Thailand. Englewood, CO: Libraries Unlimited.
A well-known author collaborates with Supaporn
Vathanaprida to create an outstanding collection of folktales including humorous stories and animal tales from
Asian culture.
Matsutani, M. (1968). The crane maiden. New York:
Parents Magazine Press.
This Japanese legend tells the story of a woodcutter
who discovers a crane caught in a trap. He frees the bird
and it magically reappears at his home in the form of a
lovely young girl. Her secret becomes the catalyst for
the surprise ending.
Yee, P. (1989). Tales from Gold Mountain: Stories of
the Chinese in the new world. New York: Macmillan.
Eight stories of Chinese immigrants reflect Old
World traditions in the new world of the United States.
Hispanic
Baden, R. (1990). And Sunday makes seven. Niles, IL:
Albert Whitman.
Costa Rica is the setting for this Hispanic tale available in an English or Spanish version.
Sierra, J., & Kaminski, R. (1991). The multicultural folktales: Stories to tell young children. Phoenix, AZ:
Oryx.

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A mosaic of stories from various cultural perspectives to excite the minds of children.
Van Etten, T. P. (1990). Spanish American folktales:
The practical wisdom of Spanish Americans in 28 eloquent and simple stories. Little Rock, AR: August
House.
Outstanding and unusual stories reflecting traditions and customs collected by the granddaughter of
Spanish author Jose Pijoan.
Vigil, A. (reteller). (1994). The corn woman: Stories and
legends of the Hispanic Southwest. Englewood, CO:
Libraries Unlimited.
A collection of 45 stories and legends (15 are presented in Spanish) highlighting the rich heritage of Hispanics from the Aztecs to modern times, including wellloved animal tales, magical stories, and creation myths.
Native American
Bruchac, J. (1992). Native American animal stories.
Golden, CO: Fulcrum.
A collection of diverse stories by a leading Native
American storyteller and author.
Keams, G. (1995). Grandmother spider brings the sun:
A Cherokee story. Northland.
This story teaches respect for the elements of nature as told through the eyes of wolves, coyotes, and
other animals.
Rosen, M. (reteller). (1995). Crow and hawk. Illustrated
by J. Clementson. San Diego, CA: Harcourt Brace.
Originally recorded by the anthropologist Ruth
Benedict, this traditional Pueblo tale, passed down from
generation to generation, tells how baby crows become
the children of a hawk.
Wood, A. (reteller). (1995). The rainbow bridge. New
York: Harcourt Brace.
This powerful creation myth tells the story of how
the Chumash tribe came to be and their close relationship to land and sea and how these and other natural
elements become allies in their survival as a people.
Part 2: Classic Tales as Retold by Various Ethnic/
Racial Groups
Clino, S. (1993). The Korean cinderella. New York:
Harper-Collins.
The Korean version of the Cinderella tale, reflecting the cultural nuances of Korea.
Ginsburg, M. (1988). The Chinese mirror. Illustrated by
M. Zemach. San Diego, CA: Harcourt Brace.
A villager returns from his travels to his hamlet in
ancient China with an unusual treasure that he calls a

Lenox
mirror. As he shares his discovery with his neighbors,
each looks into the mirror and sees something different.
(Adapted from a Korean folktale).
Hamilton, V. (1988). In the beginning: Creation stories
from around the world. San Diego, CA: Harcourt
Brace.
A noted storyteller selects stories with the common
theme of how the world came to be, including the myths
Owner of the Sky, The Coming of All Things, and
Pandora.
Tello, J., & Lopez, A. (1997). Abuelo y los tres osos/
Abuelo and the three bears. Jefferson City, MO:
Scholastic.
A familiar tale transformed to reflect the subtle distinctions of the Hispanic culture.
Young, E. (1989). Lon Po Po: A Red Riding Hood story
from China. New York: Putnam.
The cultural flavor of China is reflected in this
well-known story.
Part 3: Storytelling Techniques, Multicultural
Perspectives and Reference Resources
Baker, A., & Greene, E. (1996). Storytelling art and
technique (3rd ed.). New York: Bowker.
An excellent book of ideas, methodology, and suggested stories by an exceptional storyteller and leading
educator.
Banks, J. A. (1994). An introduction to multicultural education. Boston: Allyn & Bacon.
This essential resource for todays multicultural
classroom includes a guide to how to create and implement a multicultural curriculum and a criteria for selecting multicultural stories.
Chase, R. (1948). Grandfather tales. Illustrated by B.
Williams, Jr. Boston: Houghton-Mifflin.
A rich array of stories collected by a master of the
storytelling tradition.
Chase, R. (1943). The Jack tales. Illustrated by B. Williams, Jr. Boston: Houghton-Mifflin.
A classic collection of well-known Southern tales
collected by a master of the oral tradition.
Diamond, B. J., & Moore, M. A. (1995). Multicultural
literacy: Mirroring the reality of the classroom.
White Plains, NY: Longman.
A practical guide for teachers with activities to promote interest in diversity.
Kutner, L. (1997, August). Teaching tolerance: Prejudice is learned; so is acceptance. Parents, 72, 110
111.
A nationally recognized publication provides insight for teachers and parents on enhancing and understanding diversity.

Storytelling for Young Children

MacDonald, M. R. (1993). The storytellers start up
book: Finding, learning, performing and using folktales including 12 tellable tales. Little Rock, AR: August House.
The introductory resource for teachers includes
tales from the Hispanic tradition.
National Association for the Preservation and Perpetuation of Storytelling. (1994). The goat in the chili
patch. In Tales as tools: The power of story in the
classroom. Jonesborough, TN: National Storytelling
Press.
An exceptional resource from a highly recognized
national group.
Nieto, S. (1996). Affirming diversity: The sociopolitical
context of multicultural education (2nd ed.). White
Plains, NY: Longman.
Describes successful strategies and program initiatives to infuse multiculturalism in the classroom across
the curriculum to enhance student success.
Renck, M. A. (1997). Many people, many places, other
times: An annotated bibliography of multicultural
books for 3- to 8-year-olds. Early Childhood Education Journal 25, 4550.
An annotated collection of books suitable for use
with children in preschool or primary grades.
Sawyer, R. (1962). The way of the storyteller. New
York: Viking.
An enduring resource on the philosophy of storytelling and its value as a tool for stimulating creativity
and imagination.
Shade, B., & Robinson, J. (Eds.). (1989). Culture, style
and the educative process. Springfield, IL: Charles C
Thomas.
A scholarly exploration of the importance of cultural perspectives, how children from different racial/
ethnic groups learn in the classroom, and the social and
cultural effects on learning styles.
Skipping Stones: A multi-ethnic childrens forum.
A magazine designed to encourage young readers
to share their stories in any language. The editions encourage stories from many cultural perspectives.

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Sleeter, C. E., & Grant, C. A. (1988). Turning on learning: Five approaches for multicultural teaching plans
for race, class, gender, and disability. New York:
Macmillan.
An excellent, practical resource for changing classroom practices to include multicultural concepts in
teaching and learning.
Spagnoli, C. (1995, September-October). Storytelling: A
bridge to Korea. The Social Studies, 86, 221226.
The author includes suggestions for telling Korean
stories more authentically by using the idioms of the
language.
Part 4: Compilations of Multicultural Stories from
Around the World for Storytellers
Bruchac, J. (1997). Tell me a tale: A book about storytelling (Including 12 stories from around the world).
New York: Harcourt Brace.
Excellent source of stories from the Native American tradition, as well as stories from around the world.
Cohn, A. L. (Ed.). (1993). From sea to shining sea: A
treasury of American folklore and folk songs. Illustrated by M. Bang et al. New York: Scholastic.
Stories and songs reflecting Americas diverse cultures within the context of the history of America.
Forest, H. (Compiler). (1995). Wonder tales from
around the world. Little Rock, AR: August House.
Forest, a professional storyteller, collects 27 timehonored tales from every continent, lacing them with
lively prose, rhyming refrains, and useful source notes.
REFERENCES
Baker, A., & Greene, E. (1977). Storytelling art and technique. New
York: Bowker.
Diamond, B. J., & Moore, M. A. (1995). Multicultural literacy: Mirroring the reality of the classroom. White Plains, NY: Longman.
Ford, P.K., Clegg, L. B., Miller, E., Vanderhoof, B., & Ramirez, G.
(1995, NovemberDecember). How to choose the best multicultural books. Instructor, 105(4), 4653.
Sanders, S.R. (1997 Spring). The power of stories. The Georgia Review, 51, 113126.
Wong, F. E. (1991, JulyAugust). Diversity and community: Right
objectives and wrong arguments. Change, 23, 4854.