Seri Webinar Guru PAUD Mendongeng: Membangun Interaksi dalam Mendongeng

Main ideas / lessons

• Storytelling for PAUD doesn’t depend on expensive props

  • Stories can be told effectively without tools, using only voice, body, expressions, and interaction.
  • Props are helpful, but the storyteller’s skill in using them matters more than having them.

• Two broad storytelling approaches

  1. With tools (aided storytelling)
  2. Without tools (unaided storytelling) Both aim to keep children engaged and help them build imagination and experience meaningful interaction.

• Why fairy tales remain important

  • Even in the digital era, children still need storytelling to:
    • build imagination
    • restore real human relationships between teacher and child
    • support learning through interaction (not only passive visuals)

• How to tell stories without tools (core “assets”)

  • Voice: intonation, volume, tempo, articulation, and sound variation (low/medium/high).
  • Body: especially hands/body posture and movement to depict:
    • characters
    • emotions
    • situations (e.g., strong vs weak posture, slow vs fast movement)
  • Facial expressions: make emotions clearer/exaggerated enough for a classroom setting.
  • Interaction techniques: keep children focused through voice dynamics, invitations to participate, and attention-handling for hyperactive children.

• How to tell stories with tools (principles + types)

  • Types of media
    • 2D tools: flat media (puppets/pictures/paintings/videos/screens).
    • 3D tools: tangible media (dolls, paper-folding/origami, crafts, everyday objects).
  • Principles
    • Understand the media and what you want to convey before choosing it.
    • Use media you can truly master to avoid technical problems that break children’s focus.
    • Avoid “just memorizing”—instead understand and own the story.
  • Tools should support learning goals, not distract from the narrative.

• Building interaction and attention

  • A child moving around doesn’t automatically mean lack of attention.
  • Teachers can use dynamics and participation prompts to maintain focus (e.g., asking, inviting help).

• Story content and learning suitability (PAUD-focused)

  • Choose characters/themes that are:
    • close to children’s age when possible
    • near their daily world
    • fantastical elements allowed, but should be imaginatively connectable to what children can grasp
  • Personification is effective because children often relate animals/inanimate objects as “like humans.”

• Moral message approach

  • For PAUD, morals are often conveyed indirectly through discussion/questions, not just authoritatively concluded by the adult.
  • Repetition helps children remember key ideas and story messages.
  • Avoid turning morals into “dictation”; instead ask children what they think/what the character should do.

• Duration and structure

  • Typical PAUD concentration span: no more than ~10 minutes (often guided to 5–10 minutes).
  • Story structure commonly referenced as three parts:
    • opening
    • middle/conflict
    • ending/resolution

• Teacher “stage performance” vs “learning storytelling”

  • Storytelling for PAUD learning is distinct from theater/monologue:
    • storyteller must keep a narrator position
    • children should understand story events without the entire performance becoming “acting as the character” (which can drift into monologue/pure theater style)
  • Acting is allowed, but it should not overwhelm learning.

• Content safety / cruelty

  • Not all folklore/regional stories are automatically suitable for PAUD.
  • For preschoolers, stories with violence/cruelty should be avoided or carefully selected, because children may interpret and imitate harmful behavior.

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Methodology / instruction lists (detailed bullets)

A) If telling stories without tools: what to use

• Use your body

  • Hands and fingers can become objects/characters (e.g., peace sign, scissors, ears, snake/animal shapes).
  • Body posture can depict:
    • confident/arrogant (open chest, upright stance)
    • timid/weak (closed posture, “limited”/contained movement)
  • Movement speed can depict:
    • sadness (slow, heavy motion)
    • frail/elderly/creatures like sloths (slow movement)

• Use voice processing techniques

  • Intonation: vary pitch so the narrative isn’t monotone; reflect emotional/scene changes.
  • Volume: adjust loudness/softness so all children can hear and to match tense moments.
  • Tempo: adjust speaking speed to increase drama/effect (fast vs slow).
  • Articulation: speak clearly and “be responsible for every word/syllable,” even when speaking quickly.
  • Sound variation
    • everyone can vary voice across at least three levels: low / medium / high
    • helpful because PAUD stories often only need up to about 3 characters
  • Vocal expression: change emotion through voice (joy/fear/anger/sadness) to create different meanings.

• Use facial expressions

  • Make emotions clearer/exaggerated for classroom visibility:
    • sadness (body posture + eyebrows + mouth)
    • anger (eyes bulging, jaw clenching, tightened expressions, etc.)

• Use interaction to keep attention

  • Lower voice or change voice dynamics to regain focus.
  • Invite children to participate (answering questions, helping characters in the story).
  • Running/active children may still be listening—check comprehension with later questions.

B) If telling stories with tools: how to choose and apply them

• Choose media type

  • 2D: flat visuals (pictures, puppets, paintings, videos/screens)
  • 3D: tangible items (dolls, origami/crafts, everyday objects)

• Follow key principles

  • Don’t rush to pick a prop first
    • Decide what you want children to understand/feel/experience.
  • Understand the tool first
    • Know what it conveys and how it works in your story.
  • Only use media you can master
    • Practice so you don’t face technical failures (e.g., doll can’t move, parts fall off) that distract children.
  • Understand vs memorize
    • Memorizing “A to Z” can feel robotic; aim to understand and own the story.

• Use props as story elements (not just discussion partners)

  • Avoid using puppets/dolls only as passive accessories—integrate them as characters whenever possible.

• Character quantity guidance

  • For PAUD: aim for no more than ~3 characters when choosing story complexity (fewer is better).
  • If more exist, it’s not impossible, but risk increases that younger children struggle to track them.

C) Story planning for PAUD learning (structure + pacing)

• Pacing

  • Target roughly 5–10 minutes for PAUD stories (guided by typical concentration span ~up to 10 minutes).

• Structure (3-part)

  • Opening
    • create a safe/comfortable listening environment
    • condition children before starting (prayer/song/settling)
  • Middle
    • include conflict and show how the character responds
  • Ending
    • resolve the conflict
    • close with a pleasant mood (fun ending; sometimes singing back to normalize feelings)

D) Delivering moral messages in a PAUD-friendly way

• Use questions rather than dictation
  • Ask children what the character should do or what they think/feel about the situation.
• Encourage critical thinking
  • Children are allowed to answer in their own way; moral discussion supports reasoning.
• Allow multiple interpretations
  • Children may take different lessons from the same story.

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Speakers / sources featured (as named in subtitles)

• Arif Rahmanto (often called Kak Arif)
• Eis Agungsari (administrator of IGTKI PGRI / referenced as “IG TKI”)
• Juliono Wijaya Pangestu (administrator of MPK / Christian Education Council)

• Dino / Kak Dinu / Brother Dinu — Muhammad Dino Imansyah

• Additional speakers mentioned but not present on mic

  • Mrs. Amilatul (mentioned during quiz rankings)
  • Mrs. Safarina (participant question)
  • Ms. Ati Nurhayati (participant question)
  • Deni Ekaputa (participant question)
  • Arminah Wardiyah (participant question)
  • Mas Nauli Marbun (participant question)
  • Others referenced as quiz participants or callers in chat/hand-raise, without full identification.