A Path to Our Future: Artful Thinking, Learning, Teaching, and Research

by Elizabeth P. Quintero (Author) Mary Kay Rummel (Author)
©2015 Textbook XV, 173 Pages
Series: Critical Qualitative Research, Volume 13


This is a book about story, the human experience, teaching and learning, creativity and community. Story is so much more than decoding text and writing using academic language. It also includes literature and all forms of the arts; digital forms of story, from social media to documentation of history; and new forms of multilayered, multigenre research. Story is the backbone and the catalyst for personal connections, appropriation of knowledge, and synergy of knowledge for global citizens. Critical qualitative research is the methodology by which to document and analyze what is really going on in the complex, multidirectional interactions. The authors maintain that story in a broad and newly enlightened sense may help us to break out from the narrow concepts of literacy, content knowledge related to measureable standards, and random facts that are unrelated to dispositions for addressing human needs. Literacy as a conceptual synthesis of knowledge, skills, and dispositions has been giving us glimpses of synergistic ways to approach learning and teaching.

Table Of Contents

  • Cover
  • Title
  • Copyright
  • About the author
  • About the book
  • This eBook can be cited
  • Contents
  • Chapter One: Introduction: Deep Learning and Generative Research Through Story
  • Stories Lead to Stories…
  • Stories Lead to Stories…
  • Stories Lead to Stories…
  • Stories Can Lead to Stories in the World of Educational Accountability…
  • Stories Lead to Stories in Families
  • Looking at Story Differently
  • The Research Story and Theoretical Underpinnings
  • New Views of Story
  • Immediate Relevance
  • Story Sites Supporting Evolving Research
  • Higher Education and Story
  • Magic of Interaction and Intellectual Intention
  • References
  • Section One: Story and Culture
  • Chapter Two: Critical Approaches to Learning With Refugee Stories
  • Learning from Asylum Seekers
  • Preliminary Findings: Overlapping Critical Themes
  • References
  • Chapter Three: Naming Stories and Critical Literacy: A Classroom Narrative
  • Fifth-Grade Students’ Naming Stories
  • References
  • Section Two: Stories and Learning
  • Chapter Four: Connecting Funds of Knowledge to Curriculum: Children and Teachers Using Story
  • Funds of Knowledge from Somalia
  • Funds of Knowledge from Mixtec People
  • Adult Student Teachers Reflecting on Their Own Family History
  • Curriculum Development and Building Upon Children’s Funds of Knowledge
  • References
  • Chapter Five: Writing From the Heart: Fourth-Grade Students Write Poetry
  • In the Beginning
  • Modeling
  • Topics
  • Childhood
  • In My Last Lifetime
  • Revision Mini Lesson
  • Line Breaks
  • Work in Progress/Drafts of Poems
  • References
  • Chapter Six: Loving Tulips Across Three Years: A Long-Term Project Story Begins
  • Narration, Storytelling, Interpretation, and Metaphor
  • Who We Are as Writers, Philosophers, and Educational Researchers. Who Are the Co-Protagonists in the Story?
  • Year 1: First Encounter with Parent and Tulips
  • Experimenting with Making Learning Visible
  • Year 2: Documentation and Investigations with Adults, Children’s Representations, and the 100 Languages
  • What Do We Learn as We Retell the Story and Share Photos from Our Experiences?
  • References
  • Chapter Seven: Conversations: A Tulip Tallness From the Ground
  • Year 3 Happenings
  • Children’s Conversations
  • An Evening of Listening, Learning, and Dialogue
  • The Studio as a Place for Relationships
  • At the End of the Day
  • Viewing Year 3 Through the Lens of Conversations as Aesthetic Experiences
  • What We Learned from Our Work with Children, Parents, and the Tulips
  • References
  • Section Three: Stories and Change
  • Chapter Eight: Changing the Way We Story Our Lives
  • Some Theoretical Perspectives
  • Selecting Tools for Digital Storytelling
  • Some New Ways of Telling Stories
  • Chris Ware: How the Mind Builds Stories
  • Student Responses to Building Stories by Chris Ware
  • A Poem Response to Graphic Story of the Woman in One of the Apartments
  • Linear Response to Small Wordless Picture Book in the Box or (it Could all Just be a Dream)
  • Questioning Response
  • Responses to Structure and Format
  • Interpretive Response
  • Opinion Response to The Daily Bee (Newspaper Comic Format)
  • Historical Narrative: The Graphic Novel Trilogy by Senator John Lewis
  • References
  • Chapter Nine: Stories Within Stories: Case Study Narrative of Students Creating Stories
  • Introduction
  • A Completely Subjective Analysis of Two Students’ Writing
  • Summary of Observations
  • Grande
  • Handy
  • Student Interviews
  • Handy’s Interview
  • Grande’s Interview
  • Analysis of Writing Samples
  • Grande
  • Grande’s Story
  • Handy
  • Application to Teaching
  • Grande
  • Handy
  • Reflection
  • References
  • Chapter Ten: Storying Learning: Assessment in Early Childhood Settings
  • Are We Asking the Right Questions Regarding Assessment?
  • What is “Quality” and Who Decides?
  • Parents Contributing to Definitions of Quality
  • What is School Readiness?
  • Sample of Early Childhood Assessments Used in the United States
  • Assessment Tied to Curriculum
  • Context of Learning Story Assessment in an Early Childhood Studies Program
  • References
  • Chapter Eleven: Storying: Ways of Seeing
  • Roads, Stories, Indians, Air
  • Narrative Poetry
  • Endnote
  • References
  • Epilogue: Taking Agency and Paying Attention
  • Story as Inspiration
  • Story as Reflection
  • Story as Instruction
  • Story as History
  • Story as Advocacy and Illumination of Complex Rights and Wrongs
  • Story for Imagining What Could Be
  • Story for Uniting Community as Opposed to Stories that Destroy Community
  • Story for Passing on Culture
  • Stories that Create Culture—Relationships Between Culture and Stories
  • Story as Observation of Culture, of Learning
  • Story as a Unifying Principle for Different Kinds of Media
  • Story as a Bridge to Deep Learning Both Locally and Globally
  • References
  • Series index

← x | 1 → CHAPTER ONE

The place is Alma Rosa Winery in California. Amidst rolling hills, olive groves, vineyards, forests, and black-and-white cows grazing, there is room for a few humans in the rustic tasting room. As we enter, we hear the host explain the write-ups of the wines on the menu: “We have shifted our tasting notes to telling stories instead of telling what you need to look for.”

We read on these tasting notes,

Story for 2012 Pinot Noir—La Encantada Vineyard

“Swan Lake” ballet transposed into wine: the beauty and the balance, the drama and the darkness…graceful and elegant, seductive and beguiling with a sense of tension beneath the surface. Our future is what but unknown, leaving us only the moment, this moment, time to pour another glass and release our imaginations to soar in the winged embrace of the Black Swan.


This thinking and talking and sipping brought a favorite topic of ours to mind about how art and life so richly reflect each other. We were reminded of the student teacher in a kindergarten classroom in Brooklyn. She told the children the story of her study-abroad trip to Amsterdam by displaying prints of van Gogh’s paintings, reading a biographical storybook about the artist, and then she engaged the children in a discussion of her favorite painting, My Bedroom. The children went on to think about their favorite “rooms” at home for each of them and began ← 1 | 2 → to draw, paint, and create their stories as they did. Their stories were uncensored, poignant, and sometimes funny.


Then we reflected on the ways poetry creates visual and historical stories, through generations, into the future. Another art form using story to connect us and our loved ones…

Between Rivers

for Sylvie

Tell us, Orion, great hunter

while you pace our land,

where can we anchor the tents

of our many languages, our longings?

Who will hear us through the din

of so many singing tongues?

The moon waxes and wanes

across black sky thick with stars,

with shrieks and cries of hawk, crow, owl,

with words I’ve forgotten,

buried dialects, whole alphabets

on the far side of rivers.

They crowd my mouth

adding weight and grit

to what I can’t express,

a slow Irish song that rolls

from my tongue to my new

dark-haired granddaughter.

From her eyes, somewhere between

the depths of the Nile, the Rhine

and the green marshlands of the Shannon,

between sun struck Charles


XV, 173
ISBN (Hardcover)
ISBN (Softcover)
Publication date
2014 (March)
experience creativity social media community Story Literacy Knowledge Interaction Synergy
New York, Bern, Berlin, Bruxelles, Frankfurt am Main, Oxford, Wien, 2015. 173 pp., num. ill.

Biographical notes

Elizabeth P. Quintero (Author) Mary Kay Rummel (Author)

Elizabeth P. Quintero is Professor and Coordinator of Early Childhood Studies at California State University Channel Islands. She is author of numerous publications including Critical Literacy in Early Childhood Education: Artful Story and the Integrated Curriculum (Peter Lang). Mary Kay Rummel has been appointed Poet Laureate of Ventura County, California. Her seventh book of poetry, The Lifeline Trembles, is being published by Blue Light Press as winner of the 2015 Poetry Prize. She is a professor emerita from the University of Minnesota, Duluth and teaches classes in multicultural, multilingual literacy at California State University, Channel Islands.


Title: Storying
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186 pages