Generation Gap of Tellers: 3 Ways to Prove This Myth Wrong

By the way some storytellers sound, it seems that the 40+-year-American Storytelling Movement is coming to a close as more and more tellers are aging . . .and passing on.

At one time, I, too, had wondered about the generation gap.

Every time I attended a National Storytelling Conference, I was lucky to find 10 tellers within the 18-35-year-old range. Youth tellers, except for the Kids’ Koncert there, were practically nonexistent.

So we thought.

Then, after seeing the curious and excited looks of college students as I ran a booth on the art on their campus, I realized that the generation gap was only as looming as one made it to be.

Suddenly, I needed sunglasses to see the bright future.

Three Ways to Prove Generation Gap Myth Wrong:

• Use Different Names for the Art and the Artist



• Make Appearances on Campuses Beyond Performances



• Promote Generational Participate at Events

Use Different Names for the Art and the Artist

We are attached to the name “storyteller”. The name has a long and cherished history with people of all ethnicities, tongues, and climes.

Then something changed.

People have their lists of what de-valued the status of storytellers: television, video games, Internet, falling family values, drugs, gangs, etc. Whatever the reason or reasons, the name “storyteller” does not have the power it once had with youth and college-aged students.

Although the term “storyteller” could still be used as a label or profession, we need to add other words to our daily vocabulary within and without the storytelling community.

Otherwise, we run the risk of having certain images evoked when saying “storyteller” such as the picture of an old lady reading stories to preschoolers. Yes, we do have storytellers that have talents in “story-reading” as well as connecting with preschoolers, but our art offers even more variety than this pre-conceived idea.

So how can we increase other storytelling images when youth or college-aged students think of our art?

We connect with other narrative-based art forms and use some of their words to invite others to our art form. Some terms to consider: humorist, slam artist, spoken word artist, sit-down comedian, solo performance artist, etc.

For new festivals or events, we can experiment of naming it a “story festival” rather than a “storytelling” festival. For example, out in Hawaii there is the Talk Story Festival. Director Jeff Gere said that the phrase “talk story” was slang used often on the islands and thus it was adopted as the event’s name.

Make Appearances on Campuses Beyond Performances

Imagine the chance to introduce storytelling as an art to pursue with 3,500 or more people. . .in one place. That is easy to do when you connect with a campus.

Weber State University has an annual tradition of booths, prizes, and food also known as the Wildcat Block Party each Fall Semester. I cheered when given approval to have a booth to promote the Weber State University Storytelling Festival there.

Since there would be over 100 booths, I knew our booth had to stand out. We had to have a drawing with many storytelling-related prizes and candy. We also had the basic email list, festival business cards, and fliers.

After about five hours, I earned some sunburns—red battle scars—that told me that the day was victorious.

The results: 98 people entered the drawing, 56 signed the email list, 70 cards were taken, and 30 applications to audition for the festival were taken.

Yes, I do understand how the numbers work. Though 30 applications to audition were taken, perhaps five actually make the effort.

Yet, if five new college tellers were gained per Fall Semester over the course of 20 years, then that would be 100 new artists to storytelling.

Consider now that this was done for Fall and Winter Semesters at 50 universities, with one per state, what would your number be?

That would be 500.

The current membership for the National Storytelling Network is about 2,000 people.

Though, this idea of booths is not limited to college campuses. Although the main place to find storytellers are in elementary, middle, and high schools, there could be booths dedicated to the art during events where these students could be found.

We could play with numbers all day—and this is all hypothetical—but you can imagine that the generation gap of tellers does not have to exist.

Promote Generational Participation at Events

Most storytelling events unintentionally ignore youth and college-aged students by the tellers they invite. Every event is entitled to figure out how they go about choosing their tellers, however, if concerned about the generation gap of tellers, the next step is to invite them to tell.

As mentioned earlier, the booth promoting the Weber State University Storytelling Festival had applications so that college students could audition with 8-minute-or-less stories.

When students approached the booth, we called out, “Are you a storyteller, a story appreciator, or both?” Regardless of their answer, we could either guide them more about storytelling events happening and/or share opportunities of how they could be storytellers . . .and get paid.

This way, we start each session with two 3-minute story slots for youth, one 8-minute story slot for college students and adults, and finally about a 25-minute slot for the featured teller.

Returning to the numbers game, what if every storytelling festival reserved 3-5 slots for college students and youth?

Perhaps you will no longer believe in the generation gap of tellers, too.

Until we tell again,

Rachel Hedman

Professional Storyteller

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com/

How-To Blog: http://storytellingadventures.blogspot.com/

Performance Blog: http://familyfamine.blogspot.com/
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Balancing Act: Old & New Storytelling Traditions

Finding balance on views of how to expand the art of storytelling amongst the elders versus the next generation of tellers of 18-30-year olds is not impossible as some may think in the storytelling community.

Perhaps it is fairer to keep age out and name the two views as traditionalists and innovators. Most people will probably see themselves as mixtures of both. This may already show that we as individuals and as a community must decide our stance.

Let us see how these two groups may fare in three categories:
1. Technology
2. Discovery
3. Coming Together as a People

Technology—
Traditionalist: Tends to resist mixing the art with other mediums, especially for radio programs, television broadcasts, podcasts, blogs, etc. Narrower definitions of storytelling are common to exclude performers who do not normally call themselves storytellers such as radio personalities, stand-up comedians, filmmakers, etc. Though microphones may be used to perform or recordings may be made on CDs or DVDs to sell as merchandise, this is usually the extent of technology considered acceptable.

Innovator: Promotes the use of technology including downloadable stories on ipods, podcasts, blogs, MySpace, digital stories, or anything that advances the visibility of storytelling to the general public. Theatrical elements such as lights and sounds are more open to use though not always incorporated. There is more acceptance of using other words to describe storytelling such as spoken word, performing art, and narrative theatre in advertising materials.

Discovery—
Traditionalist: Honors stories from all times and cultures and seeks to show respect from which the roots of the stories take place. Any act of irreverence is looked down upon. There is recognition that each storyteller brings something unique in the telling. Often the teller searches for how to build bridges of understanding, peace, memories and information for the audience.

Innovator: Encourages the exploration of the art form in most, if not in all, ways. Respect for the roots of the story are acknowledged though not always respected through use of humor, shock-value or other dramatic tools. Sometimes this leads to riskier or sensitive subjects, which could shake the typical “G” or “PG” material produced for most storytelling audiences. Fringe festivals, story slams, and coffeehouses that support the spoken word are venues for this kind of teller. Tends to invite all as storytellers despite backgrounds.

Coming Together as a People—
Traditionalist: Supports storytelling as a way to strengthen families, communities, and nations through informal gatherings such as front porch tellings (also known as kitchen table tellings), neighborhood block parties, or other spontaneous functions. Other forums such as storytelling festivals, story swaps, and conferences are welcomed. Sometimes seeks others within the art through membership of a guild or with the National Storytelling Network. At the same time, if the organization should disappear, the teller comforts self that the art would continue as it has from the beginning of time.

Innovator: Outreaches through service or action-based projects, as these activities are popular on campuses across the nation. Whenever there is a natural disaster, medical need, or call for peace, several of these college-aged people rush to make a difference. The storytellers of this age group have often put together benefit concerts, like what was done for Hurricane Katrina, without any direction from organizations.

If you are both traditionalist and innovator, then you are not alone.
In many respects, one could say that there is already a balance of tradition and innovation within the American Storytelling Movement. The general mixture of the storytelling community is not split 50/50. My guess is that we are seeing more of a 70/30 with 70% leaning towards traditionalism. As the current 18-30-year-olds age, however, we will see a shift more to the innovation side. There is not a right or wrong percentage for the split to occur. Whatever the balance needs to be at the moment, that is what we will see.

Rather than define the “proper balance” of the American Storytelling Movement and the direction of storytelling, here is what an ideal balance would feel like:

Trust would be placed upon both traditionalists and innovators that decisions are in the best interest of respecting the art of storytelling

Value as a member of the storytelling community would be felt even with the differing views

Recognition would be given to those who uphold the traditions as well as those who evolve the art

Leadership of the art would evoke experience from traditionalists and from innovators

Here are shifts towards the innovator side through some actions by the National Storytelling Network:
1. Desires to have an 18-30-year-old on the Board of Directors
My proposed next step: As every state has a state liaison to represent the area, so could there eventually be a second state liaison from the 18-30-year-old range.

2. Reserves space in Storytelling Magazine for New Voices column
My proposed next step: This column could be offered to colleges across the nation for part of their campus newspapers. This would not be the first time that newspapers glean from other sources. Think of the Associated Press and the relationship with worldwide newspapers. Campus newspapers are no different.

3. Supports New Voices Discussion Group (18-30-year-old tellers and allies)
My proposed next step: With the monthly conference calls that are made for this group, there is small attendance. When goals are established and at least 30 members maintained, then the Discussion Group could transform into a Special Interest Group. Interestingly, membership to a group is not as important to this age group as to action. If the National Storytelling Network desires to see more of 18-30-year-olds, then "make-a-difference" programs need to be in place. Benefit concerts structured on a national level could be one such program.

4. Promotes Fringe at National Storytelling Conference
My proposed next step: Embrace a story slam as part of the National Storytelling Conference. Ever since the Fringe was introduced a couple years ago, the draw increased for 18-30-year-olds as well as for performers who may not label themselves as storytellers. Even so, only 10-15 of this age group attended versus over 250 of mainly 50+-year-olds. Varying the types of events/activities available at the conference serves as an invitation; sometimes all one needs is an invitation and feeling welcome in the storytelling community.

Balance is easier to accomplish if we remember that, regardless of age or views, that we are lured to storytelling for similar reasons.

Scott Russell Sanders lists ten main reasons:

1. Stories entertain us
2. Stories create community
3. Help us to see through the eyes of other people
4. Show us the consequences of our actions
5. Stories educate our desires
6. Stories help us to dwell in place
7. Stories help us to dwell in time
8. Stories help us to deal with suffering, loss, and death
9. Stories teach us how to be human
10. Stories acknowledge the wonder and mystery of Creation

***Sanders, S.R. (1997, Spring). “The Power of Stories.” The Georgia Review, 51(1), 113-126.

Within these reasons, is there room for traditional as well as newfangled ideas?

You know my answer.

Until we tell again,

Rachel Hedman
Professional Storyteller
Co-Chair of Youth, Educators, and Storytellers Alliance
(801) 870-5799
info@rachelhedman.com
http://www.rachelhedman.com/
http://www.yesalliance.com/

Storytelling Generation Gap: 4 Ways to Close It

Many storytellers wonder about the next generation of storytellers, especially as to whom will continue the American Storytelling Movement that was jumpstarted by the National Storytelling Festival in 1973.

The future could seem dim if you looked only to the attendance of 18-30-year-olds at the annual National Storytelling Conferences. I could count using two hands--with fingers to spare--the number of 18-30-year-olds at the 2007 National Storytelling Conference.

Often people ask how to attract more young people to the art.

Four Ways to Positively Connect with 18-30-year-old Tellers:
1. Attend events where an 18-30-year-old would go
2. Allow leadership to be equally shared and/or given
3. Offer friendship that is genuine rather than assigned
4. Wait for the 18-30-year-old to initiate mentorship

Attend events where an 18-30-year-old would go
If the desire is to have more 18-30-year-olds at storytelling events, then people must be willing to go to where this age group roams. You do not have to appear as a stalker. When you go to their events, then be quick to introduce yourself. Feel free to share why you are there such as, "I have never gone to a slam before" or "I heard this would be a good place to find 18-30-year-old storytellers/artists." Being the quiet observer is also fine.
Some suggested places:
1. Poetry/Story Slams (see previous blog for more details)
2. Comedy Clubs
3. Coffeehouses with Open Mikes
4. Campus Events sponsored and/or led by Students
5. Fringe Festivals

The Internet is a wonder tool in that you can go to a search engine such as Google and type in key phrases like "poetry slam + (state where you live)" and receive a schedule of events. Comedy clubs are found anywhere though they tend to be nearby college towns. If possible, go to the Student Centers at universities and ask where the students like to hang out on and off campus.

You may discover that their events clash with what you deem "quality entertainment". Withhold your judgments. Instead, ponder on why certain themes or motifs repeat. For example, you may find a lot of poems at a poetry slam based on peace and/or the angst towards war. Some pieces may reflect current events such as the high suicide rate among college students or the struggles of mental illnesses and disabilities. Though some swear words may be inevitable, are you able to wade through the vocabulary and discover the speaker's beliefs and values towards the subject?

Allow leadership to be equally shared and/or given
Sharing leadership is one way to demonstrate trust. This provides a way for the leadership torch to be passed voluntarily. Otherwise, the torch may be grudgingly given as people pass on and there would be little experience for the young adult teller to lead successfully.

While extending the opportunity to serve, young adults discover that the storytelling community is willing to embrace newfangled ideas. Though certain traditions are vital to be untouched, the young adults could learn early of the proper balance for the American Storytelling Movement.

Offer friendship that is genuine rather than assigned
Heads seem to swing quickly in my direction as I am a young teller amongst an ever-graying crowd of storytellers. As I talk with some people, I often wonder if their interest is only triggered by my age. What responses, if any, would I have received if I was 30 to 40 years older?

As the storytelling community is a kind and supportive one, I may simply be experiencing the same hands of friendship that any other teller would receive.

Before you approach a young adult teller, ask yourself these questions--
1. What assumptions do I have about this young adult teller? Would the young adult teller appreciate these assumptions if expressed?
2. How does my body language and voice inflections show respect for the young adult teller? For example, do I fold my arms as if to protect myself from what this teller may say? Do I use my "parent" voice when speaking with them?
3. What results do I expect in return for extending friendship to this teller? Would the young adult teller be offended by my intentions?

Wait for 18-30-year-old to initiate mentorship
There is a temptation to see an 18-30-year-old perform and then to offer to be a mentor. The young adult may not be at the stage to ask for help. In fact, age is misleading. After learning more about the 18-30-year-old, you may discover that you should be mentored by them.

One area that young adults could assist older tellers is in the technological field. They have grown up with tools such as websites, blogs, and podcasts, that could launch an older teller's career.

Plus, the young adult could have been telling stories longer than the older teller, especially if the young adult started the storytelling path while in elementary school.

Once mentorship is agreed between both parties, here are some tips--

A mentor does not have to be someone you know well. In fact, a mentor does not have to be someone you know at all. It could be a risk meeting a new person for a mentor, though, from taking risks, you could be highly rewarded.

Take the time to learn of each others’ interests and the trust will be built that will make for productive coaching sessions.

Though structure and goals are nice for the sessions, be open to go down unknown paths. As a story often has a life of its own, a coaching session also have a life of its own.

I would hope that any coaching or mentoring would lead to a strong and lasting relationship. Keep each other updated as to progress with stories.

Record the coaching sessions for future reference. For the mentoree, the recording makes it possible to progress on the story. For the mentor, the recording makes it possible to progress on the skills as a friend and guide.

Above all, have fun and be ready for amazing adventures.

Perhaps one day it will be said, "Generation gap? Nah--we are in good hands."

Until we tell again,

Rachel Hedman
Professional Storyteller
Co-Chair of Youth, Educators, and Storytellers Alliance
(801) 870-5799
info@rachelhedman.com
http://www.rachelhedman.com/
http://www.yesalliance.com/

College Big Cats: Tracking/Capturing Performances

Roaming and performing at colleges and universities can sometimes leave a storyteller with a feeling of being in the jungle. Without a tour guide, one can get lost. Depending on the adventures sought, there are many ways to connect with the 18-30-year-old audiences. I will provide a teaser, while more details and jungle laws will be shared during my workshop presentation at the 2007 National Storytelling Conference in St. Louis, MO.

We don’t see many 18-30-year old storytellers because people avoid college audiences. I am one of those rare 27-year-old tellers while most tellers are on or beyond retired age. Without examples of storytellers, the students will not see how this art can be applied to their careers or that professional storytelling is an option.

One out of many jungle laws:
A lion called by another name is still a lion.
Most people hear the word “storytelling” and think of an old woman telling stories to kids, unless they have attended an event such as a storytelling festival and saw that the majority of audience members were adults. Using the word “storytelling” is one way that tellers bring more visibility to the underappreciated art form in comparison to the respect given to music, dance or theatre. Yet, sometimes other words are needed to describe storytelling for the novice listener.

Some words used instead of storytelling in college venues:
Spoken Word
Narrative Theatre
One-Man/One-Woman Show
Adult Storytelling

One time I discovered how hard it was to define storytelling let alone any of the other above terms. I mistakenly thought it would be an easy first question to ask the 24 storytellers I interviewed for my thesis “Transformation of the Storyteller’s Identity and Role Through the American Storytelling Movement”. If storytellers have problems explaining “storytelling”, then how can we expect novice listeners to know the difference?

A college’s experience with storytelling determines what word is most appropriate to use.

The following storytelling experiences were available on or nearby Brigham Young University:
1. BYU Storytelling Club
2. Storytelling every Monday night at the BYU Museum of Art for over 8 years
3. Timpanogos Storytelling Conference (regional level) co-hosted by Theatre and Media Arts Department on campus as part of the Theatre and Community Stories Initiative 2007-2008
4. Proximity to Timpanogos Storytelling Festival in Orem, UT that can reach attendance of 14,000 to 20,000 people
5. Performing Arts Concert Series had professional storyteller
6. KBYU combined efforts with PBS to create a TV special/DVD of “The Call of Story”

Among the BYU culture, fliers and posters effectively drew audiences using “storytelling” as part of headings. One could still find the occasional student who thought storytelling was only for kids.

Florida Atlantic University, when sending out its news release on January 16, 2007, used phrases such as “adult storytelling”, “one-woman performances”, and “performance is akin to great stand-up comedy” to describe styles of national storytellers Carmen Agra Deedy, Judith Black, and Beth Horner.

At the U.S. News and World Report website, you can search for the most popular cultural and campus events at colleges across the nation. When you see events like open mike and coffeehouses in this list, then already you know to connect with “spoken word.” When theatrical productions are the emphasis of a school, then “narrative theatre” makes the most sense to use. Liberal arts schools tend to be more familiar with “spoken word” and “narrative theatre”.

To find the lion, first find the gazelle.
You may have determined what word is best to describe “storytelling”, though this does not guarantee an audience. You need to understand national and local college student trends that, in turn, could determine genres/types of stories to tell to the 18-30-year-old audience.

Look to the positive and negative headlines about students such as these:
1. “Self-promoting Websites feed narcissistic generation”—March 13, 2007, Grand Rapids Press
2. “Students with mental troubles on rise; Colleges add suicide response teams, counselors”—June 25, 2007, North Jersey Media Group Inc., The Record (Bergen County, NJ)
3. “Religion, spirituality on rise for current college students”—March 30, 2007, The Pitt News via U-Wire, University Wire
4. “Workshops, art, dinner to focus on Utah’s black culture” (how students combine efforts with the community)—February 23, 2007, The Salt Lake Tribune
5. “Study: College gambling reflects national trends”—April 12, 2007, Duluth News-Tribune (Minnesota)

With a few newspaper articles, already ideas for storytelling programs/themes should abound. The first headline of the “narcissistic generation” may inspire egotistical tales. Folktales could have the ability to expose human weaknesses while not sounding preachy. Sharing stories from another time period could prove that self-centered people have always existed.

At poetry readings, more themes are centered on mental illnesses, which seems to fascinate the 18-year-old to the adult. Perhaps with all the studying that students do, it is only natural to worry about mental illnesses.

As for sacred stories, some colleges have religious affiliations like Roman Catholic, United Methodist, or Presbyterian. Though stories of the same creed would do well in these schools, these places usually embrace religions of all kind. College students are at the age that they want to know why people believe what they do. The World Religion course is popular at Brigham Young University even with the majority of students being Latter-day Saints.

With storytelling program ideas in mind, you may be ready to seek contracts with universities.

This leads to another jungle law:
A lone lion is always hungry.
Storytelling does not have to be the sole performance on the stage.

If the university has had little to no events involving storytelling, then automatically plan to partner with at least one of the following:
1. Clubs and Organizations
2. Professors
3. Musicians, Visual Artists, etc.
4. Storytellers of 18-30-year-old range

This is where your tour of the jungle must end for now.

As mentioned before, the information shared is a teaser to a much larger workshop presentation.

The workshop has these objectives for participants to --
1. Identify resources and partnerships that will secure storytelling performance and workshop contracts with colleges, universities, or anywhere 18-30-year-olds can be found
2. Apply the research and statistics from student feedback and college campuses through the nation to promotional materials, thereby creating a loyal fanbase
3. Support storytellers of the 18-30-year-old range in a positive and effective manner

Feel free to ask me about the other secrets and laws of the college jungle.

Until we tell again,

Rachel Hedman

Professional Storyteller

Co-Chair of Youth, Educators, and Storytellers Alliance

(801) 870-5799

info@rachelhedman.com

http://www.rachelhedman.com/

http://www.yesalliance.com/

Story & Poetry Slams: 5-Step Evolution of Art

Storytelling and poetry have existed for centuries and now these art forms have evolved into something more intense and lively. Story slams and poetry slams outreach mainly to high school students and college-aged adults, though all ages, cultures and races participate.

My inner radar sounded off when I first heard these evolved art forms. I anxiously attended a poetry slam workshop/contest led by Tracie Morris and Jean Howard at the 9^th Annual Great Salt Lake Book Festival on October 28, 2006. Tracie and Jean shared the basic format of a poetry slam. I searched other sources to find what aspects are common.

Format of Story Slam/Poetry Slam (may differ from event to event)—

1. Anyone Can Share Poem/Story
2. No Props or Costumes
3. Five Judges from the Audience and/or Pre-determined Panel
4. Time Limit
5. Audience Reactions

Anyone Can Share Poem/Story
All are welcomed to perform and so all types of genres are shared—tall tales, legends, scary stories, romances, hip-hop, social injustices, and the list goes on. Events may censor what can be shared, though most tend to be open to any theme, expression, or style. Some slams may not be appropriate for children 12 years of age and younger.

How is a slam different from an open mike? A slam’s first priority is to the needs of the audience. An open mike is seen as a network of supporters for the artist.

Marc Smith noticed that some open mikes needed a breath of life into them as some participants droned on without connecting to the audience. Marc partnered with Dave Jemilo, owner of a Chicago jazz club called the Green Mill; they created the Uptown Poetry Slam held every Sunday night ever since July 25, 1986. Now, the Green Mill is known as the Mecca of Poetry Slam.

Slams occur mostly in taverns and coffee shops, though other venues sponsor these contests such as festivals, bookstores, libraries, and even Humanities classes. The Ruth Lilly Hoosier Storytelling Festival in Indianapolis had their 3^rd Annual Story Slam in October 2006 and awarded $100 to first place and $50 to second place.

No Props or Costumes
Though I have not seen why props and costumes are discouraged, I suspect it is so the audience can focus on the words and the performance. Perhaps another reason would be that props and costumes might give unfair advantage to participants.

Five Judges from the Audience and/or Pre-determined Panel
Random selection from the audience can give anyone a chance to be a judge. No previous experience in judging is necessary. Jean Howard suggests that a pro slam poet gives the first performance, drawing hearty response from the audience, so that the judges can practice giving scores. Of course, this can calm—or terrify—the amateur slam poets.

Poetry slams have either a 0-to-10 scale or a 1-to-10 scale (with 0 or 1 being low). Rarely are perfect 10s given. Out of the five judges’ scores, the highest score and the lowest score are dropped. The three remaining scores are totaled so that the contestant receives a grand total of 0 to 30 points.

Tracie Morris confessed that some slam poets have the performance skills but lack the quality in the poem itself. Judges may let some less-than-desirable pieces slide due to stage presence, though contestants should not expect this to always be the case. There is no telling what piece will grab the judges. What can win in one round may stink in another round.

The Ruth Lilly Hoosier Storytelling Festival’s Story Slam prefers to have a pre-determined panel that includes professional storytellers, teachers, and students. Scorecards are divided into five main categories—

1. Presentation Skills
2. Creativity
3. Staying within Time Limit
4. Audience Applause/Approval
5. Story has Beginning, Middle and End

After the event, contestants receive copies of the evaluation forms.

Time Limit
More people can participate when there are time limits. According to Poetry Slam Inc. and the National Poetry Slam, each person has a three-minute limit with a ten second grace period. As for Story Slams, the tales should stay under five minutes. Any second over the allotted time and points are deducted from the judges’ scores.

Audience Reactions
Jean Howard said that when she acts as emcee for a slam, she teaches the audience how to react. She practices with them on how to boo, hiss, and stomp feet. This way, the audience will be more vocal and bring more excitement to the event. Applause may be a rarity.

Tracie Morris noticed, “Sometimes the best response is for people to not like your work.” Difficult or controversial themes are often unleashed. Perhaps the performer’s intent is to have the audience react, despite if the reaction is positive or negative.

Regardless of themes, audiences interpret your body language. Tracie pointed out that doing a particular gesture once, like throwing down your fist, might be more powerful than if done repeatedly.

Beyond gestures, Tracie likes to take out the rhyme in her poems to see if she still likes her work. Tracie warned, “After the 15^th person uses rhyme, the audience gets fatigue.”

Audience fatigue can be avoided if a poet/storyteller develops writing skills. Tracie stressed that you “learn how to write well by reading.” Books keep you well versed in ideas so you can create your own ideas. Plus, reading may inspire which lines of poetry—or parts of a story—you may want to prioritize.

If you want to be part of a story/poetry slam—whether as performer, judge, emcee, or audience—most likely there is an event in your neighborhood or nearby city.

As for Salt Lake City, you can go to a poetry slam at A Cup of Joe’s on 353 West 200 South every Saturday at 8:00pm. I met some people who would love to have storytellers so you may find that a poetry slam can be a story slam and a story slam can be a poetry slam.

On a grander scale, you can go to the 2007 St. Louis National Storytelling Conference for its Story Slam or to the 2007 National Poetry Slam in Austin, Texas.

The final step of the evolving art of storytelling and poetry may be the time when those two art forms become one.

Until we tell again,

Rachel Hedman
Professional Storyteller
Co-Chair of Youth, Educators, and Storytellers Alliance
(801) 870-5799
rachel@storytellingadventures.com
http://www.rachelhedman.com
http://www.yesalliance.com