Sensory Learning, Storytelling, and Story Dramatization
Sarah Pleydell, Affiliate Artist, Wolf Trap Institute for Early Learning Through the Arts, Vienna, Virginia
For the past eight years I have been an affiliate artist with the Wolf Trap Institute for Early Learning Through the Arts. The focus of my work has been to integrate multi-sensory learning into storytelling and story dramatization. Through my work with hundreds of preschool and special needs children, I have discovered that when new language experiences (new words or word patterns) are presented along with sensory experiences, they are more easily comprehended.For example, when I first introduce the word "sunshine," I have the children dip their pinky fingers in a pool of honey served on a paper plate (to keep this hygienic, have the children wash their hands before story time and rotate the plate before serving each child). Honey suggests, of course, the golden color of the sun, but also the stickiness of heat and the sweet, happy sensations we all associate with sunny days.
The best way to start working with sensory props is to identify one per story. For example, if a story involves rain or a rainy day, bring in a spray bottle; if it's about winter or cold, use ice; if flowers are in the story, put perfume on each child's nose; if a story involves food or a meal, work the story into snack time.
The props can be introduced either before beginning the story or as they occur, wherever the storyteller feels most comfortable taking time to organize and distribute the props. Remember, children will wait for something interesting and exciting, and an aide can help with the logistics. (But remember, if the children's hands or faces are sprayed with 'rain" before the story begins, they will already be wet when the rain section comes up.)
As storytellers grow more comfortable working with props, they can gradually add more to the story circles. When I tell the story Goodnight Moon by Margaret Wisebrown, a flashlight is my primary prop. I close the drapes and shine it on the ceiling to represent the moon. I tell the children that this is a story about the moon and talk about its shape, color, and appearance. Next I shine the flashlight on the pages of the book as a reading light. After all the objects in "the rabbit's bedroom" have been named, I take the flashlight and shine it on some of the objects in our classroom (the blackboard, the chairs, the playhouse, etc.) This way the bedroom in the story becomes part of our classroom and the classroom is part of the story.
Then, as the bedroom in the story grows darker, I hand out rectangles of blue acetate( available for a dollar ar most art supply stores) for the children to look through. First we read the book through these "glasses" and then look at the objects and the area in the classroom. The more times the book is read the more verbalizations the children can do as the pages are turned or the different objects in the classroom are pointed to. This story could be use to talk about color as well as light and dark; for example, asking what color different people and objects are when looked art through the glasses.
If storytellers feel like getting fancy, they can add a second pair of "red glasses" (red acetate). This will make the room go from blue to purple and the story can then be used to discuss both color and color mixes.
Working with sensory props is intimidating at first, but when storytellers take the plunge they will discover how successful it is. Props are a lot of fun, and they do not distract the children. And storytellers will have fun too, and they can surprise themselves with new ides that they can come up with.