Te Marautanga o The Story
The Story Curriculum
Māori Story Curriculum
As teachers in Waldorf/Steiner schools we are conscious of and follow a prescribed story curriculum which relates directly to the pedagogical development of the children in our care and their changing developmental stages. Being conscious and active in constructing and providing for our students in our schools, a dual and continuative narrative is essential. Our aim is to take our children on an unbroken journey from simple nature stories from Aotearoa and as well pakiwaitara, through the Māori creation stories through to biographies of prominent Māori who have shaped our country. Stories should be told; read and studied that describe times of conflict and political struggle in an age appropriate manner within a Māori context as well as representing strong Māori role models.
The prime provider of these stories will be the class teacher; the value of engaging with mana whenua in this process is necessary to ensure history is genuine and locally relevant.
Class 1: Fairy Tales, Folk Stories, Nature Stories
Statement of Intent:
Selected fairy tales, folk tales and nature stories are told throughout the year. The teacher can integrate these into an original, overarching story which can be responsive to the specific needs of the class and of individual children as the year goes on.
The stories aim to enhance and foster within the children their imaginative capacities and to reflect soul images that are relevant to their developmental stage. The children have many opportunities to retell the stories verbally, through artistic representations, through drama and speech, music and verse.
The stories told will form the basis for new concepts that are introduced in Main Lessons throughout
Class 1.
The fairy tales are images of soul development that precede the myths and legends of ancient times, which, in turn, may precede and enhance known history.
Fairy tales represent a stage in humanity’s development when picture consciousness was common to all; they mirror the consciousness of the seven-year-olds. The children gain soul satisfaction from being able to live with the images that arise from the stories, and from being able to imaginatively apply those images to the development of educational concepts.
The children can relate to the characters and events of the stories in a manner appropriate to their own development. The inherent morality of the tales is a true reflection of the spiritual world, where deeds good and bad are rewarded or punished in the fullness of time. The children, being closer to the spiritual world, understand this more easily than adults do. Fairy tales enrich the depths of soul from which our later hopes and ideals are born. The stories are taken deeply into the children's feeling lives, where they are allowed to rest. They are neither discussed nor analysed, but simply retold or acted out, written about or depicted in paint or crayon.
The fairy tales, folk tales and nature stories that are told throughout the year are chosen by the teacher for their relevance to the curriculum content of the Main Lessons, the seasons and festivals, or curative needs at any given time. At all times intellectual concepts are avoided; instead, imaginative pictures are built and used that may lead the children on a journey to form a relationship with an idea in their feeling life. The children are encouraged to advance via these imaginative pictures to conceptual construction and to practise the concept out of the imaginative picture and their own relationship with it.
It is the task of the teacher in Aotearoa New Zealand to identify suitable fairy tales. Genuine fairy tales are found in all world cultures, and it is important to draw on those most relevant to the class and suited to the intent. Māori fairy tales and legends, and stories marking seasonal events will be told wherever possible. Some of the fairy tales selected by the Brothers Grimm provide universal archetypal pictures, as do many of the Chinese fairy tales (among others) and selected Russian fairy tales are particularly well suited to be told in the middle (winter) terms; nature stories can be told throughout the year to accompany seasons, and in the “Home Surroundings” Main Lesson.
It is important that traditional fairy tales are chosen with contemporary sensitivities in mind. Explicitly moralizing stories should be avoided, as should those with graphic or otherwise inappropriate imagery. It is the teacher’s work to adapt these stories accordingly. Fairy tales that have become a staple of pop culture and been made into movies should be avoided altogether, as they will no longer activate the children’s own imagination. However, within the context of Aotearoa New Zealand, it is more authentic to use pūrākau that are appropriate for Class 1. Given the archetypes that are present in Grimm’s and other fairy tales, which have their roots in European Western culture, it is best to leave these fairy tales intact and not change the details to suit an Aotearoa context, e.g. giving Rapunzel dark hair instead of “golden” hair. Changing details in these fairy tales render them meaningless and creates a loss of archetypal symbols. It is preferable to use pūrākau within the Aotearoa setting which is authentic and truthful. In imaginative experience the whole sequence of events is important, and the pictures should not be treated singly. Steiner advises us ‘not to introduce into fairy tales just anything that may occur to us. (Steiner, Rudolf. The Interpretation of Fairy Tales. 26 December 1908, Berlin).
Class 2: Fables
Statement of Intent
Through the stories told in Class 2 we seek to bring about a balance between the astral life and the aspiring Ego of the child. We aim to encourage the child to experience, identify and name aspects of their astral [feeling] life via the fables, where human soul qualities are represented in animal behaviour. This experience will then be balanced with one of the Ego, as found in the deeds of inspired people, redeeming impulsive or unreflective behaviour and striving for the good, and in the process glimpsing the light of one’s higher self.
The novel is introduced through the 'King of Ireland's Son', and, in pictorial form, the journey that the soul undertakes in developing the higher qualities of humanity. We will allow the children to live into these varying pictures of human development, and support within the class ethos the wish to strive for the highest ideal.
In this way the stories of the Class 2 curriculum support the healthy development of the children’s moral life. Being encouraged and enabled to live with these stories and the soul pictures they engender allows the children to experience higher aspects of their being and acts as a counterbalance to the harsher realities of everyday life.
The environment of the classroom supports the children in their exploration of moral characteristics and encourages deeds that show respect and reverence for the natural world and for other people. The development of the children’s writing, reading and artistic skills is furthered within the context of these lessons.
Fables
Allowing the eight-year-olds to live into the stories that correlate animal characteristics with certain human behaviour traits and personalities which the children can relate to, strengthens their understanding of moral behaviour. The fables are traditionally short and here the teacher should focus on bringing the animal qualities and characteristics to life before telling the fable. The stories must be presented, however, without moralising, and their own behaviour can then be lovingly represented to them in metaphor, allowing a gentle 'awakening' process to begin. The stories can be retold through drama, movement, song and verse, and revisited through modelling, drawing and painting. A book of selected short stories could be created to practise writing and reading skills while educating the emotional and moral life of the children. It is important to allow time for the children to live fully into each characterisation and not to rush through a new story every day. Every child should be encouraged to act out the characters and to experience the consequence of the behaviour that the story reveals.
Simple Nature and Animal Stories from Māori anthologies
Māori stories based on nature should be chosen that
support the healthy development of a moral life within
the students. Being encouraged and enabled to live with
these stories and the soul pictures they engender, allows
the children to experience the higher side of their being
and acts as a counter-balance to the harsher realities of
everyday life. These stories should be imbued with deeds
that show respect and reverence for the world of nature
and of other people. These should include:
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Pakiwaitara manu - how the kiwi lost his feathers, why the tui has a white plume - reverence for the earth. Insects and reptiles
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Te Waonui-a-Tāne. Tāne and his children- Rātā and the tōtara
Celtic Narratives
The King of Ireland's Son
Bridging the divide between the archetypal pictures of human development found in fairy tales and the ideal state of personal development revealed in the legends of inspired people is the Celtic tale of the King of Ireland's Son.
This story can enfold the children in a world where the protagonist must move from selfindulgent child to shining hero. He must face and overcome many dangers and fears it is another picture of the soul's developmental journey. In this respect the story is a precursor to the Parsifal study in Class 11.
The children will be living with a novel-length story for the first time, and the many characters and circumlocutions of the story will aid memory development and foster the art of retelling a story. As with the fables the children will be given many opportunities to live into the story through writing, reading, and the arts. Interweaving, wherever possible, all other subjects with its content will deepen and enrich the children’s overall experience.
As with all stories, the teacher is encouraged to find ways to mitigate the gender stereotypes and -roles presented in this old story, in a way that preserves its integrity.
Finn McCool
This is another novel-length story or a series of collections of stories. This offers the possibility of engaging the students in a range of physical challenges and their acting out of the story.
Saints and Inspiring People
Through these stories the children are given moral pictures of the best in human nature. Typically, stories of the Saints and their love for, and their mystical relationship with, the animals of the earth are told in such a way that the children's soul life is warmed and moved to 'do the good.' The Celtic stories of the Saints and their relationships with the world of nature are told, including stories of St. Columba, St. Patrick and Saint Kevin. The legends of St. Francis of Assisi and his 'brothers and sisters', the animals of the fields and the birds of the air, are told with a sense of reverence for and appreciation of the world of creation. Stories of Saints such as Saint Elisabeth whose deeds were inspired by love and compassion for fellow humans will support the children’s awakening sense of the other.
Within the context of Aotearoa New Zealand teachers may like to tell the stories of Dame Whina Cooper, Sister Mary Joseph (Suzanne Aubert), Te Whiti, and other tangata rongonui whose life stories are exemplary of inspired human striving for goodness.
The children are again encouraged to live with these stories and to express their response to them in different ways. For example, the verses and songs of St. Francis can be learnt, and a favourite story acted out.
Class 3: Creation Stories
Statement of Intent
Stories of creation are told to accompany the children’s “awakening” to their separation from and, at the same time, belonging to their immediate environment and indeed the earth.
The creation of the heavens and earth, the plant and animal kingdoms and the divine origin of humankind are the essential elements in these stories; many creation traditions describe the origin of human community and the laws which govern it. The vigorous language of these stories resonates with the deep questions the children carry at this time and has an orientating effect.
As the children pass through the “nine-year-old threshold” with its accompanying doubts, fear and uncertainties we place before them images that can help to establish a sense of time and origin, and of belonging to humankind.
Depending on the cultural or ethnic backgrounds of the children in their class teachers may choose to present other suitable stories.
Hebrew Myths and Legends
The Hebrew myths and legends serve especially well to mirror the “Fall from Paradise” which the children are experiencing. Understanding at an emotional level that humanity was able to survive being cast out of Paradise and thrive by accepting guidance of divine inspiration can be healing for children whose sudden realization of separateness can cause doubts and fear.
The allegory of “God” who as creator and omni-present parental figure inspired the steadfast Hebrew leaders to guide their people through moral and spiritual uncertainty can give assurance to the children that in their lives, too, there are adults who care for them in this godlike way. They are able to rest securely in the boundaries and form that whānau and teachers provide. They can then pour all their energies into being a child and learning all they must learn in order to prepare for the next steps in their healthy development.
The stories of the creation should be told over a period of time, so that the children are able to fully live into the images, pictures and content. Through imaginative stories, they will be led to a sense of reverence for the creation of the heavens, the earth and the natural world of plants, animals and humankind. Creation fables may be told, for instance, why the rose has thorns, the relationship between flowers and butterflies and how the animals were named. Many of these stories place before the souls of the children living images of scientific facts that would otherwise be dryly ‘factual' and devoid of moral and artistic inspiration. By dwelling deeply within the creativity of the Creation, the story of the expulsion from Paradise will reflect a real state of soul to the children and therapeutically support them through this current crisis time in their developmental process.
The ensuing stories of the Hebrews and their leaders may accompany the class for much of the year. It is important and possible to find stories of female leaders and leadership, too. Stories that reveal honour and respect for the laws of God and those who lead in His name will resound within the souls of the children and offer a sense of comfort and security throughout the 'crisis' stage. The practical lessons of Class Three also have their foundation in these stories. Learning to live together in a community and to be a supportive member of that community are necessary experiences that aid the development of healthy emotional forces, and spiritual well-being.
Māori Creation Stories
The Māori creation stories connect the children to the spiritual context of Aotearoa New Zealand; sense of identity is, importantly, strengthened at a time when many children question theirs.
The separation of Rangi-nui-te-Po and Papatūānuku by Tane-mahuta and his siblings is an encouraging analogy of the nine-year-old’s soul experience. While there was profound change, Tane and his brothers retained agency and went on to create the world. This was not without conflict or mistake, and the children will benefit from these images of striving, strife and eventual accommodation of difference and diversity.
The stories of the great love between Papa-tuanuku and Ranginui-te-Po and the deeds of their many children will all enhance the children’s experience of the mystery of the world's being. The fables that explain animal and bird characteristics and plant forms may be interwoven with the stories from the Ancient Hebrew stories. The deeds of the god Tanemahuta and his relationship with the birds of the forest may be told and developed in many ways. The children should have opportunities to reflect on these stories through various mediums, artistically and practically.
Pakiwaitara tell of the creation of the heavens and the world. The great love between Ranginui and Papatūānuku and the deeds of their many children, will all enhance the students’ experience of the mystery of the world’s being. The separation of the parents is experienced individually by each atua. The natural consequences of this are the development of new realms of nature.
Class 4: Norse Mythology & Tangata Whenua
Statement of Intent
We place before the children stories that reflect to them their own stage of inner development.
Ten-year-olds recognize themselves as individuals; they no longer have the security of believing the world is one with them and this loss is reflected in the stories of the withdrawal of the gods from Midgard in the Norse myths.
The inner activity of recognising right from wrong and being conscious in one's choice to act one way or the other becomes a part of the child's moral makeup. The reflection given to them of the progress of the demigod Loki, from mischiefmaker to bringer of death and destruction, becomes a potential healing force in this process. While the stories are enjoyed for their content, the deeper spiritual pictures are valued for their reflective and soul-deepening abilities.
The stories about Māui-Tikitiki-o-Taranga ultimately ground human beings on earth when Māui fails to win immortality for them. Again, this mirrors the experience of the 10-year-old child. These stories are important foundations for the developing sense of identity, both spiritual and spatial.
These as well as stories of the local tangata whenua which are told throughout the year all serve to connect the children to their place and time, to allow them an experience of consequence, and to support the unfolding of social awareness beyond their family.
Language and literacy skills can be practiced in the retelling of selected stories, both orally and in writing. The children may present a play of one of the stories and they will learn verses, songs and musical pieces connected with the stories.
The Norse Myths
The stories of the Northern gods are told in full, from the creation through to Ragnarok and the beginnings of the new age. These stories are relevant for their portrayal of humanities' loss of connection with the gods, when the veil was drawn more firmly between the spiritual world and the earthly world. The children are encouraged to live into the images from the stories.
The stories are full of humour, drama and tragedy and allow the children to have the opportunity to experience, imaginatively, the devastation brought about by a single act of ill will; they will mourn the loss of the god Baldur and experience the tragedy of the death of the gods. These stories reflect the children's own state of soul as they settle more firmly into their physical bodies and become individuals who live in a physical world. The veil is drawn between the two worlds they once inhabited, albeit unconsciously, and increasingly their task is to be truly within this world. The therapeutic value of these stories cannot be stressed too highly, and time should be given to allow full appreciation of them.
Māui-Tikitiki-O-Taranga
Māui-Tikitiki-O-Taranga is similar to Loki, in that he is a conflicted character who is a bit of an outsider in his whānau yet has high aspirations for them. Like Loki, he is a sharply clever trickster and a shapeshifter. Like Loki’s, Māui’s biography holds the key to doom – in his case, the loss of immortality for humankind. The stories of Māui describe deeds which might stem from a wish to do good or help, but often come at the cost of relational quarrel and conflict. Māui’s trickery and exploits ultimately help humankind to live successfully on the earth. The ambiguity of Māui’s character balanced with his bravery and determination will resonate with the 10-year-old and help them to develop their awareness of consequence and ethical nuances.
Local kōrero that describe the creation of local geographical features and local history with a strong local narrative. Building reciprocal relationships with mana whenua is essential in gathering these local pakiwaitara. These stories should be told not through facts and figures but through imaginative pictures that lead the students to discover themselves in time and place, and to an appreciation of the wonder of their world and how they arrived in it. It is imperative at this age not to undermine the child’s perception of the world being good by politicizing stories shared. In Class 1-4 stories need to focus on expressing an essence of a deed, character traits, and/or a moral. Ideally these stories are told orally to support the children’s development of imaginative pictures. These pakiwaitara can include:
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the arrival of local waka
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early contact and development of trade
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ancestors and how they came to this area
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the history of local marae,
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local names of locations
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the whakapapa/pepeha of the kura.
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Geographical features of significance
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Tūpuna/Tīpuna - balance needed in regards to the representation of male and female examples
Stories from the children’s lives and from Elders
For children to get a sense of who they are in time and place it is important for them to hear stories of their own growing up and stories from their parents, grandparents and from their Tīpuna. There is no better way for the children to hear these stories than from elders associated with the children in the class or local kaumātua.
Māui-tikitiki-a-Taranga Stories.
The inner activity of recognising right from wrong and being conscious in one’s choice to act one way or the other becomes a part of the child’s moral make-up in Class 4. The reflection given to them through the many adventures and life’s journey of Māui, from his mysterious infanthood to his attempt of entering back into the spiritual world and subsequent death are valued by the children at this age for their reflective qualities. They are also stories that are full of great humour and drama that the children can easily relate to.
Class 5: Ancient Civilizations
*Please note that more Class 5 curriculum content can be found in by following:
- Class Teaching - Class 5 -History/Geography
Selected stories from ancient civilizations
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Ancient India
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Ancient Persia
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Mesopotamia
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Egypt
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Greece
Story Curriculum from Aotearoa
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Stories from tangata whenua that give a living picture of the geographical features of Aotearoa.
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Significant stories from tangata whenua that give a picture of the sequential history of Aotearoa. This can include an initial look at the arrival of waka around Aotearoa.
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Stories that describe the creation and formation of national geographical features.
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Origins of the realm of Tāne Mahuta, flora and fauna. The origins of the kūmara and its connection to Hawaiki. How the ability to cultivate kūmara influenced the geographical location of settlements. (Roimata Toroa)
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Naming of Aotearoa by Apa
Class 6: Ancient Civilisations... continued
*Please note that more Class 6 curriculum content can be found in by following:
- Class Teaching - Class 6 -History/Geography
Creation stories that relate to the geology of Aotearoa. Stories from the Pacific and Australia that give children a sense of being part of our Pacific community.
Geology of Aotearoa.
At this age we direct the children’s gaze back to the land we live upon. We look at the ground beneath our feet and the mineral kingdom that it is made of. We do not want to fill the children’s heads with geological facts, but rather awaken a consciousness of the life on earth. This is where we can utilise stories from tāngata whenua, which depict such things as the place pounamu have in Māori society, or the stories around the origins of geological features or events. These can include:
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Stories of other kōhatu (stones) and clay (origins, different uses of it).
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Hineahuone (the woman formed from clay) as an introduction to human anatomy
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The story of Mahuika, the goddess of fire / Ngatoroirangi who requested fire
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Rūaumoko
Stories from the Pacific and Australia that give students a sense of being part of our Pacific community.
For the students to experience themselves as citizens of a Pacific Nation they need to hear the stories of the people of the Pacific and Australia. (Ideally being told directly by the tāngata whenua of these places). These could include:
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Parallels of the creation stories between Aotearoa, Australia and the Pacific
Ancient Rome to the Fall of the Empire
This first Main Lesson surveys the period from the founding of Rome by Romulus and Remus through to the expulsion of the last king and the founding of the Republic. The story begins veiled in mythology, progresses to the ideal stage of community, the diverse character of the kings and their contributions to the success (or not) of their growing community and arrives, with the fall of the last king, at the dawn of the Republic. Please refer to the history curriculum.
Life in Medieval Times
With the rise and establishment of Christianity came a transformation of civic and social structures. Whereas in the Roman Empire a person could rise from humble beginnings to Emperor (e.g., Trajan), in the Europe of the Middle Ages a class system that drew its legitimacy from divine determination became established. The complex system of classes in a feudal society may be looked at from serf, guildsman, knight, through the echelon of landed gentry, to lords of the realm, the barons and the king. Finally, the loss of the king's supreme rights with the signing of the Magna Carta may be investigated. Life in the villages, castles and monasteries can be compared.
The medieval style of building may be studied as it leads to the sudden appearance of the great medieval churches. The influence of the church and the lives of some of the great Christian visionaries and saints may be revisited. The rise of the guilds may be studied; this could include some research into the etymology of surnames. Through biographies of the time the children will be able to experience many aspects of life in the Middle Ages, from the story of Henry Plantagenet and Thomas a’ Becket to Richard the Lionheart and the Crusades, and Joan of Arc.
The Crusades, including the story of the Children's Crusade may be studied. A brief study of the history of Islam, will add an important perspective to this epoch. The children will learn about how the meeting of east and west in the “Holy Land” facilitated new thinking and experiences in western culture and contributed to the end of the “dark ages” in Europe. A study of the comparison between the monotheistic religions of Judaism, Christianity, and Islam can support this. The story of the meeting of Saladin and Richard the Lionheart and the mutual respect they had for each other, and of Saladin’s chivalry should be told in this context.
Class 7: Stories of Exploration
*Please note that more class 7 curriculum content can be found in by following:
- Class Teaching - Class 7 -History/Geography
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Voyages and navigators: Polynesian, European and others;
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Biographies of Renaissance artists, scientists and people at the forefront of transformation
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Biographies of Māori who influenced the development of our country especially around themes of navigation, exploration, voyaging and astronomy.
Biographies of Māori who influenced the development of our country especially around themes of navigation, exploration, voyaging and astronomy.
Our task is to present threshold pictures of bravery, sacrifice, and daring to go beyond the known. These stories allow students to reflect upon the consequences of these deeds. ( A Māori Renaissance)
To support the children in this process, stories of contemporary Māori Navigators can be explored. Biographies of positive Māori role models who have moved beyond their comfort zones, to achieve great things can also be studied or told. Emphasis should be given to stories of those living in the local area as well as histories.
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Tā Hector Busby
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Dr. Rangi Matamua
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Heeni Hoterene
Stories of Polynesian navigation and Māori navigators and explorers, of the great Chinese fleet of the 15th century and of the European navigators and explorers of the Renaissance can be told to create a rich tapestry of journeys of exploration. In the context of the European navigators, it is important that the children are introduced to the Doctrine of Discovery which gave momentum and apparent legitimacy to the explorations and subsequent colonisations, the disastrous effect of which are still evident today. While this aspect needs to be presented in a way that is in keeping with the developmental maturity of the children, in an age appropriate way colonial and misguided hero narratives must not be perpetuated, but at the same time the seafaring achievements of these people can be presented as part of humanity’s canon of struggles and challenges met and overcome.
It is important that the children can connect to the human element beyond dates and place names; thus, biographies should be the preferred way to present these stories.