StoryWeaver's Outreach Manager Payoshni Saraf shares what happened at a two day workshop in Chandrapur, Maharashtra.

In the warm month of May, a two-day workshop on StoryWeaver was jointly organized in Chandrapur, Maharshtra by UNICEF India, DIET- Chandrapur and Pratham Books with over 36 teacher from Government schools participating. The workshop sought to encourage the value of ‘reading for joy’ and introduced the teachers to StoryWeaver - an open source digital repository of multilingual stories.  Through the workshop the teachers and resource people were taken through the various ways in  which StoryWeaver could help address the language development requirements of the students and were guided to make them more confident about using technology to bring in more resources into their classrooms.

The session opened with a narration of ‘Bheema, the Sleepyhead’ and the participants were asked to guess how Bheema finally woke up. This set the context for the workshop with the participants agreeing that stories

a) are important in the classroom

b) make us think creatively and imaginatively, experience emotions and build curiosity

c) help children learn better.

As the session progressed into introducing StoryWeaver with a demo, participants shared their vision on how they would bring more stories into their classrooms. The second half of the day was reserved for a hands on session where the participants created content on StoryWeaver. This resulted in the creation of over 18 new stories by 16 first time authors, the addition of stories in two new tribal languages (Gondi and Banjari), 4 versions of a single story in less than 24 hours and curation of 25+reading lists that were useful for the participant group and the StoryWeaver community at large.

This teacher created and shared a story written in a dialect of Marathi spoken only in the Vidarbha region of Maharashtra.

Day two revolved around the various ways in which StoryWeaver can be used in the classroom and how non-fiction concepts can be delivered through stories. The teachers were acquainted with the 200 books on STEM concepts on StoryWeaver, a unique offering of fun and knowledge and a module on its use in the classroom.  As part of the module, we read out Dum-Dum-a-Dum Biriyani to the group and asked the teachers to share their thoughts on the book. Along with noting that the book establishes the everyday use of multiplication and division in real life, many other interesting anecdotes were also shared.

One teacher pointed out how the story breaks gender stereotypes by showing Basha being the one interested in cooking rather than his sister, and how such mindset change can be brought about in young minds only through stories. Life skills like empathy, teamwork and responsibility emerged as other key take-aways from the story.

In later sessions participants came together to brainstorm on ideas to bring in more ‘reading’ and ‘books’ in their schools and classrooms. Some of these ideas included:

a) make ’15 minutes of daily reading’ compulsory

b) buy/raise funds for more books and establish and manage ‘leveled’ libraries and use StoryWeaver to supplement as an e-library

c) use stories for enhancing classroom resources

d) encourage creative thinking and writing  

d) Sharing of resources, reading lists and best practices among the teacher peer group through a WhatsApp group.

      

 

 

 

 

 

 

 

Teachers brainstormed in groups to create and share a 'reading' action plan

A feedback survey was done towards the end of the workshop to know from the teachers if the workshop was beneficial for them, gauge their comfort in using technology to find and create resources,  their vision for its use in the classrooms and their commitment on the listed next steps.  

Many teachers echoed the sentiment of ‘how different reading levels of stories is very helpful in a classroom setting as children are at different levels and will be able to read a story as per their reading ability. The presence of so many stories at one single platform will be able to fulfill all their reading needs.’

A retired teacher who now dedicates his time in setting up libraries remarked:

“I set up libraries in various schools and I am always looking for more books on different subjects. StoryWeaver is a great medium for my quest. So many stories on so many subjects, all for free! This is like Alibaba’s Khazana that we have all got!”

The two-day StoryWeaver workshop generated a wealth of ideas and established the foundation of ‘importance of reading and stories in the classroom’. We thank all the participating teachers, UNICEF and DIET-Chandrapur for making this workshop a precious experience for all of us.

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All children read at their own pace. To help you find books that are suitable to a child’s reading ability, books on StoryWeaver have been categorized by reading levels (there are 4). These reading levels are not representative of a child's age or grade, and instead are based on the length of the book, complexity of vocabulary and the storyline. For example, a child in Grade 1 may be able to read a Level 3 book fluently, but a child in Grade 3 may not be able to read a Level 3 book. Also remember that children need not be at the same reading level across languages. For example, a child's reading level in Marathi may be 3 but in Hindi it may be 1! You can find out more about StoryWeaver's reading levels here.

Re-levelling books

'Re-level' is probably one of the most useful tools for educators.  In essence, it means changing the level of the story.  Let’s consider a case where the storyline and characters of a storybook are extremely entertaining, but the sentences are long and complex, making it difficult for a younger child to read it. This is where the re-level tool comes in handy.  You can re-level by cutting down sentences or changing complex words to simpler words to make the story easier to understand for the child, all the while keeping the storyline intact. 

How to Re-level Books on StoryWeaver

Here we’ll show you how to relevel a story in a few easy steps.

Step 1

Find a story you like. We’ll be re-levelling ‘The Day it Rained Fish’ by Ramendra Kumar and Delwyn Remedios. This is a Level 2 Book. We’ll be creating a Level 1 version of the same story.

Click on the re-level icon at the bottom.

Step 2

Choose what level you’d like to change the book to. Let's re-level this book to level 1.

Step 3.

The Story Editor window will now open.

The original text of the story will show and you can type in your text in the text box below!

Remember, it’s important to stick to the storyline of the original book when re-levelling, and to use words and language that are appropriate to the level you are aiming for. It’s a good idea to spend some time on StoryWeaver to get a sense of our 4 reading levels. Here is a story and a re-levelled version of it to help you understand this better: 'Gulli's Box of Things'  by Anupama Ajinkya Apte is a Level 2 book. One of our team members has re-levelled it to Level 1 here.

We hope you find the re-levelling tool useful! If you’ve re-levelled a story, leave a link to it in the comments section below!

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Illustrator and tattoo artist Barkha Lohia has created stunning art in Walking in the Wild for Pratham Books this year. 

Barkha lives in Gurgaon, Haryana. She loves working on morbid illustrations, tattoos, paintings of bird and trees and can be found drinking chai at any given time. She is currently working on a poem-based picturebook.

In this short email interview, Pratham Books' Assistant Editor Zeba Imtiaz talks to Barkha about her illustration approach and inspiration.

 

 How do you find inspiration for your work?

I take inspiration from everywhere, but mostly nature. I love reading, so that influences my work as well. Then there are events in your life and people around you that also flow back into the work. Sometimes it’s a conscious decision, sometimes it just flows - without much thought about what should be the subject or the output.

We know that you are a tattoo artist as well. Could you tell us more about your journey as a tattoo artist - the decision to be one, what drew you to it, and so on?

My maternal grandmother and paternal great grandmother had a lot of tattoos on their bodies. In India, communities have had a rich tradition of tattooing and the case was same here. As a child I was very fascinated with the ink on their body and would often ask them what it meant, or why they got it done. Growing up, shows like Miami Ink, LA Ink influenced me as well. The creative process of it all was really intriguing. How one took a concept and made something so personal for the client, to be permanently inked was very fascinating to me. Also, I really connected to this art form, I'd often keep doodling on myself or my friend's skin in school and college. I decided to go for it when I was working as an illustrator at my second job. I ordered a kit for myself to practice and decided later on to join a studio as well. It’s been great fun.

      

Do you find that your work as a tattoo artist influences your other work, or vice versa?

I don't think it has till date. In my case, since I love working with nature - the theme has trickled down to the various mediums I use - be it tattooing or illustration. I also feel that I'm still experimenting and not really down to one style, so I think I have the liberty to go at different styles in different mediums. With tattooing, you have to keep some aspects in mind while drawing - with regards to what will work on a live canvas. So, it has its own limitations and set rules that are not there for traditional illustrations for books and such. Illustration on paper, digital illustrations are more freeing.

Is this your first time illustrating for children? What do you most enjoy about illustrating for children, and what are the challenges?

Yes, this was my first time illustrating for kids. I have worked on smaller projects before but not on a complete book. I learned a lot during the process and it was great fun. I remember as a kid, I would pore over pictures and paintings in books and really look at them for long hours. Simply in terms of story, what must this character be doing, why is this cat here in drawing, etc. I was just creating a different world altogether. And I think kids tend to do that. They will put more into text, drawing and story in more ways than we do. So, I was trying to create that. I can't say what works for them since this is my first time illustrating for them, but if asked to do something I'd probably make a completely wacky world for them, filled with strange characters, peculiar sights, familiar sights. They would connect more with a talking bird than we'd ever. I think my style would be like that. With this book, the challenge came with the brief to have a more realistic character rather than cartoony. So, mostly it was to get the real look of a forest and the ongoing events and to do justice to the story of Zakhuma. And still make it engaging for the kids.

What kind of preparation and research went into illustrating Walking in the Wild?

I was provided with a brief about the place and Zakhuma. I was given his picture and his daily activities and asked to make a character that was more realistic than cartoony. I developed the character of Zakhuma first and then later on worked on the surroundings of the forest. I looked through a lot of pictures and articles on Dampa tiger reserve and the forests in Mizoram to get a feel of the place. Same goes for the animals, birds in the story. Rough layouts were then made for the pages, which were then discussed with the art director - for suggestions and iterations before working on the final drawing. Similarly for colouring in the pieces, some rough coloured layouts were shared with the Pratham Books team to collectively decide on which would suit the overall theme better.

Walking in the Wild is filled with beautiful and detailed drawings of different animals. What did you most enjoy drawing?

I really loved the scenes where different animal descriptions were to be given. I particularly enjoyed illustrating the opening scene and the moonlit scene of the Dampa forest reserve.

 

 

If you had to choose one medium for your art, what would you pick?

I don't think I can decide on one. I love working with different mediums. Each lends a different feel to the work. That being said, I enjoy doing more hand drawn stuff than digital - be it acrylics, oil paints, posters etc.

Who are some artists you admire?

There are many! When it comes to picture books - Shaun Tan is someone I'm really inspired by. His work is phenomenal. Lots of tattoo artists as well - Dzo Lama, Balaz Bercsenyi, Sol Tattoo in particular. Lots of Indian artists - Hemlata Pradhan, Rajiv Eipe, Sajid Wajid Shaik, Abhishek Singh. There are many actually. I can only think of a few right now. 

How do you deal with creative blocks?

Not well. I don't like that part at all. I think I take to binge watching T.V. series and books to get over it and walks.

You can read Walking in the Wild on StoryWeaver for free. This is available in Hindi, Marathi, Kannada, Tamil, and English. 

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