Today's Bards & Seanachies: Irish Wisdom in Storytelling Techniques

Having the "gift of gab" by kissing the Blarney stone is not enough to be a storyteller. An Irish proverb says, "Time is a great storyteller."

The number of stories you know, the principles learned within them, and the time it takes to apply the principles can measure intelligence.

Whether bard or seanachie (pronounced Shawn-ah-key), both well-known Irish storytellers during the Celtic era, 300 or more stories were committed to memory and shared with village people to Gaelic nobility.

During that period, people respected the role of the storyteller.

Wise people today still do.

Nowadays we have professional storytellers, and perhaps you count yourself as one. Or maybe you love to tell tales around the kitchen table or at the workplace or around a campfire. Regardless of the "stage", you probably have characteristics similar to bards/filidh and seanachies.

Consider personal connections to the following--

Traits and Qualities of the Bard/Filidh:

• 100% focused on the storytelling craft and supported by patrons
• 12+ years of intensive training through expensive schooling
• Skilled in storytelling, poetry, music composition, singing, and playing of at least one instrument--usually harp
• Repertoire consisted of long stories that took two or more hours to tell and some that had to be told over the course of several nights
• Learned stories, verses, histories, and genealogies
  
• Upon graduation of training, then wore cloak of crimson and yellow feathers and carried a gold rod
• Each year received 21 cows, food for himself and 20 attendants, kept 6 horses, 2 dogs, and immunity from arrest for any crime save treason and murder

Bard-Types of Today
We have few, if any, apprenticeships that would compare to the bardic schooling. However, many universities offer storytelling as a course and some places, like East Tennessee State University, have a complete Masters program. Some storytellers further their education by receiving doctorates in related fields such as Folklore or Theatre. (Click here for list of higher education programs.)

The National Storytelling Network has promoted apprenticeships through the creation of the J.J. Reneaux Mentorship grant.

Attending storytelling conferences and festivals are always places of learning. Some of the most popular are the National Storytelling Conference and the National Storytelling Festival. These kinds of events remind the storyteller of how many truly embrace the art.

You can see some of these tellers at listings like Storyteller.net, the Professional Storyteller social network site, and the National Storytelling Network directory. Some state guilds like the Florida Storytelling Association or the Utah Storytelling Guild have websites showing their members.

As for style, some tellers rely purely on the spoken word while others enhance their stories through song, music, or dance. There is not a right or wrong way.

Traits and Qualities of the Seanachie:

• Most of his time focused on another occupation than storytelling though he told as opportunities came
• Audience mainly composed of small and poor communities, which is why known as "village storyteller"
• More affordable than bard and often told stories when a bard could not be secured
• Some stayed in one location as a storyteller while some traveled and were paid in food and shelter
• Keepers of the history and lore of a certain folk
• Learned distinctive gestures to emphasize points in story

Seanachie-Types of Today
At times I have heard touring storytellers wish that they could stay in a place long enough to know their audience. Circuit and festival tellers are the "rock stars" of the art as they are most visible and celebrated by the media.

Some communities are realizing that their homes and neighborhoods are full of stories. It could be said they are searching for their seanachies to remember the folkways.

StoryCorps, a National Public Radio (NPR) initiative, was formed to "[create] an oral history of the United States using the stories of everyday Americans" with the help of two mobile recording studios traveling on a cross-country tour. The stories will be archived in the Library of Congress.

Then there is the [HEAR]SAY project at St. John's, Newfoundland of Canada, which is a pioneering project of story mapping through recorded oral histories. Signs are posted throughout streets and people can call the telephone number on the sign to hear the story connected to that area.

Arthur Rowan, who wrote The Lore of the Bard, said, ". . .if it is the myth and legends of the folk that you love, and your desire is to keep the magic of those traditions alive, then the way of the seanachie might be for you."

Storytelling Techniques through The Triads of Ireland:
Liz Warren, English and Storytelling Professor at South Mountain Community College in Arizona, stated, "The Irish Storytelling Tradition is one of the most thoroughly studied, documented and celebrated of any in the world."

In Summer 2008, Warren led a study abroad in Ireland on storytelling. Her syllabus online mentioned The Triads of Ireland, a collection of 214 Old Irish sayings that list three qualities at a time. The third item tends to be the climax or the anticlimax of the list.

Warren referenced three of those triads that relate to storytelling--

• Three glories of speech: steadiness, wisdom, brevity
• Three hateful things in speech: stiffness, obscurity, a bad delivery
• Three things that constitute a poet: knowledge that illumines, knowledge of incantations, improvisation

Glories of Speech--(my interpretations)

Steadiness
This is not a common word that storytellers outside Ireland may choose to be important in storytelling. It could refer to the storyteller having a calmness or control over the sharing of the story. Perhaps this promotes the idea that every moment within the story contributes in some way to the main purpose of the story, thereby creating a "steadiness" in the telling.

Wisdom
Bards and seanachies believed in the stories they told. Their audiences knew not to question. If a feat or achievement seemed too remarkable within a story, then the storyteller would justify that it was a time of magic. I like to say that every story is true. Some stories are more true than others. Even in the tallest of tales, principles are being taught.

Brevity
Considering that the bards and seanachies knew two-hour and longer stories, brevity seems a strange "glory of speech". At the same time, the Irish are known for their blessings, jokes, and anecdotes. Length may not be the issue as there are times in all of our lives when we have shared more details than necessary to relate a story.

Hateful of Speech--(my interpretations)

Stiffness
Other words for "stiffness" are "frozen" or "fake". Memorized stories have a danger of sounding "stiff". A bit of improvisation and reaction to the audience's feedback allows life to be blown into the story.

Obscurity
When a storyteller begins or ends a session with stories of gloom, then the audience's trust in the storyteller is shaken. Serious stories can be shared though the storyteller must give a sense of hope or some hint of positive emotion at the end.

A Bad Delivery
Inappropriate or boring remarks could constitute "a bad delivery". Part of the problem could lie in a lack of passion or excitement in the story choice. Audience members can sense from the storyteller's tone of voice and body language of the disinterest in the tale.

Anyone has potential to be an honored bard or seanachie.

You can bask in the glory of speech beyond the "gift of gab" and onto the honored status of storyteller by applying the Irish storytelling techniques.

Here is an Irish blessing to guide you on the path of storyteller--
May you have the hindsight to know where you've been
The foresight to know where you're going
And the insight to know when you're going too far

Online Sources or Interesting Sites:

• Irish Culture and Customs
• Word of Skill: The Art of Celtic Storytelling by Mara Freeman

Online Videos:

• The Seanachai (Eamon Kelly) on YouTube
• Today Show clip with Irish storytellers Liz Weir, Pat Speight, and singer Len Graham

Collections of Irish Stories, Anecdotes, and Sayings:

• A Treasury of Irish Folklore edited by Padraic Colum (Crown Publishers, 1954)
• Irish Folktales edited by Henry Glassie (Pantheon Fairy Tale and Folktale Library, 1985)
• The Big Little Book of Irish Wit & Wisdom (Black Dog & Leventhal Publishers, 1992)
• Ireland's Love Poems edited by A. Norman Jeffares (W.W. Norton & Company, 2002)
• The Celtic Breeze: stories of the otherworld from Scotland, Ireland, and Wales edited by Heather McNeil (Libraries Unlimited, 2001)
• Myths and Legends of Ireland by Ronald Pearsall (Smithmark, 1996)

Other Interesting Irish Books:

• Insight Guide: Ireland edited by Brian Bell (Insight Print Services, 2005)
• Illustrated Guide to Ireland (The Reader's Digest Association Limited, 1992)
• The Lore of the Bard by Arthur Rowan (Llewellyn Publications, 2003)
  
• Chronicle of Celtic Folk Customs: a day-to-day guide to folk traditions by Brian Day (Octopus Publishing, 2000)

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance

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
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Freedom-Based Mentoring: How to Transform Resistance to Acceptance

This is the full article I wrote, though a condensed version was published in the January/February 2008 Storytelling Magazine, with the theme "It Is The Right Time for Mentoring".

Out of over 13 years, eight of those years I walked the storytelling path alone. This was was choice. I did not mind being alone. In many ways I thrived on it. When I was ready, I turned to others.

Storytellers have always surrounded me--whether by fellow classmates competing in the storytelling category during high school or whether by peers in storytelling guilds. With constant inspiration, all have earned the name "friend" though only a couple people in my life have earned the title "mentor".

Each one of these special people followed what I call Freedom-Based Mentoring with these levels:

• Freedom to Start
• Freedom to Trust
• Freedom to Dream
• Freedom to Stop

Before connecting with the four levels, meet two key mentors in my life: Doris Sexton and Don Doyle.

Meet Doris Sexton
My first story was a failure. I was a sophomore in high school and my coach from Forensics, an organization of public-speaking contests, made no comment as how to improve my story except, "sign up for more practices." Rather than be mentored, I secretly practiced in the shower, the basement, or in the shed. I could not face Coach Sexton despite my high respect for her skills.

After the first storytelling tournament, I climbed on the bus with the other students. Sexton called out my name and strongly asked to hear my story again. My scores were not good enough for any trophies though good enough for a first-timer at a major event.

I took a deep breath and told for Sexton. She smiled and said, "Ahhhhhhhh, much better." From then on, I met with her every week. Each tournament I improved and by the end of my senior year I received 5th in State for Storytelling.

Despite initial reluctance, I honor Sexton as my catalyst into storytelling.

Meet Don Doyle
I was nervous meeting Don because I never had complete attention for storytelling except for eight years back with Sexton. Until receiving the J.J. Reneaux Mentorship Grant, my only knowledge of Don Doyle was of his stirring speech on connecting the generations of storytellers at the 2004 National Storytelling Conference. In September 2006, I jumped on the plane from Salt Lake City, Utah to Mesa, Arizona for a week-long one-on-one gathering.

When I reached out to shake Don's hand, he ignored it and gave me a hug instead. That action reflected what would occur in the next few days.

Don chose to break the ice by talking about storytelling interests over lunch. By the time we turned to experimenting or "playing" with techniques, Don knew my goals. He wrote them down and referred to them often.

With Don's strong theatrical background, I could receive feedback on how to piece an epic tale. I desired to create a one-hour Greek myth with the gods Hephaestus, Zeus and Hera in regards to child abuse. I knew the techniques needed for this story could be applied to other story creations. I continue to learn from him.

Freedom to Start
Whether with Sexton or with Doyle, I was the one who initiated contact.

Sexton gave me the space I needed though she still voiced that she was interested in what I had to say. Doyle reflected the same openness as he allowed me to set the pace in the techniques we explored together. Even the act of flying to Arizona versus having Don fly to Utah made a difference in my psychological need for freedom. After the first gathering, the place would not be so crucial.

Freedom to Trust
Despite Sexton's illustrious "Coach of the State" award, I depended upon classmates' impressions. I knew she was tough and often intimidating yet the ideas of the students came first.

Out of the week that I spent in Mesa with Don, at least a half-day was dedicated to understanding each other's backgrounds. This reassured myself that Don really had the best of intentions for me.

Freedom to Dream
Never did Sexton cram a story in my face and say, "You should tell this one." If she had, I would have screamed, most likely never to return. She let me decide whether a story was or was not working.

At one point, Don suggested that due to the type of story I wanted to pursue, we invite Liz Warren, who had a Greek myth background. He could have steered me away to a different story I wanted to work on. Instead, he recognized that he could focus on the techniques while also modestly stepping aside when others could guide in different areas. I was allowed to dream the types of dreams I wanted at the moment.

Freedom to Stop
Ideally the mentoree initiates as well as stops the mentoring. This idea could apply to individual sessions and to the relationship itself. A true mentorship will last the ages, even if little contact is made. As for Sexton, I update her on my storytelling through Christmas letters and visit whenever I travel to Wisconsin to see family. Don and I still email and call each other. We strive to connect whenever we are at the same storytelling conferences or festivals.

I no longer choose to walk the storyteller path alone.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance

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
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Frozen Stories: 3 Ways to Thaw Life into Them

Confession: I have told frozen stories--stagnant stories--for over 12 years and I am in the thawing stage.

Hope: Three exercises can replace my constant temptation to use words in a tongue-stuck-to-the-cold-flagpole kind of way thanks to the guidance of storytellers Don Doyle and Liz Warren.

I know there are other storytellers like me who prefer to write their stories. Many times I have heard the warning that writing a story word-for-word will make it nearly impossible to have it evolve or grow in the future. This warning was often heard through my ears the same way when mom called out before I went to school during those Wisconsin winters, "Make sure you wear your mittens!"

The mittens stayed at the bottom of the coat closet.

Though I tend to write my stories, I have convinced myself that I do not memorize my stories. What I am discovering more and more is that my storytelling sounds memorized even if it is not completely memorized. I use many of the same phrases, descriptions, and transitions in the written version of the story as in the oral version of the story. The danger is that I have become bored with my performances, as I have used this style for over 12 years, and this boredom could reflect in my connection with the audience through my tones or expressions.

Now the fact that I have had frozen stories has not stopped the compliments I have received from audience members and program directors on my storytelling. So why change or replace my habits if I have been successful?

Because I know I have frostbite.

Frostbite can get to the point when there is no feeling in the joints or exposed areas of the body. This can be the reason it is hard to even know that I have frostbite. The fingers tend to freeze first. The same fingers I use to write my stories.

If frostbite is ignored long enough, the skin color can change from red to white to grayish blue and finally to black. When black, I must call 911. The medics would not warm up or thaw my frostbite unless there is no risk of refreezing. The question can be asked, "Will I return to my frozen stories?"

If I can answer honestly that I will do my best to remain thawed and alive in my storytelling, then the gradual thawing process can begin. I gently dip my writing fingers in lukewarm water. Scalding hot water would be too much at one time.

Being that I had black frostbite in regards to my writing, my 911 led me to a flight to Arizona to meet with Don Doyle.

Here are 3 ways that are most helpful to me:
1. Create French Scenes
2. Draw Pictures of Key Moments
3. Imagine/Record Dialogue

Create French Scenes--
I was new to the concept of French Scenes when Don Doyle first explained them. French Scenes are main events of the story that begin with one or more key characters enter the scene and ends when one or more key characters exit the scene. Between entrances and exits are developments to the story whether in understanding the environment, revealing character, and forwarding the plot.

French Scenes tend to be divided into 5 parts though I could have as many as 32+ parts for a complicated story.

Let us look at the classic story of Cinderella:
Scene 1--Cinderella asleep at fireplace from working so hard for Stepmother and Stepsisters
Enter Stepmother and Stepsisters as Cinderella's Father gets married
Exit Father as he dies and Cinderella must work for Stepmother and Stepsisters

Scene 2--Cinderella gets Stepmother and Stepsisters ready for the ball
Enter the Messenger from the palace with invitation to the ball
Exit the Stepmother and Stepsisters to the ball without Cinderella

Scene 3--Cinderella weeps in the garden
Enter Fairy Godmother to get Cinderella ready for the ball
Exit Cinderella to the ball

Scene 4--Court, Guests and Prince are in awe of Cinderella at the ball
Enter Cinderella into the ball
Exit Cinderella as clock strikes midnight and she leaves a slipper behind

Scene 5--Prince scours kingdom of who will fit the slipper
Enter Prince into home of Cinderella
Exit Prince and Cinderella to be married happily ever after

If I was videotaping this story and pressed pause, then I have a scene that can be drawn. The exercises involving French Scenes, Pictures, and Dialogue help each other. You may do these three exercises in any order.

Draw Pictures of Key Moments--
I consider myself more of a performing artist than a visual artist so to draw pictures can be intimidating. When I realized that I did not have to create masterpieces and that even drawing stick people would suffice, I breathed easier. Plus, no one else had to see these pictures--only me.

Don Doyle and Liz Warren agreed that drawing in color is most beneficial. I had to truly imagine the surroundings of the story. This will help me remember the images more vividly versus the frozen words during my performance.

Don added that perhaps I could make cartoon bubbles that could be written statements that reflected what the characters were feeling toward the other characters, objects, or situations in the story. Dialogue would not be necessary, only thoughts.

Imagine/Record Dialogue--
Once I know the characters in the story, whether minor or major characters, then it's time to understand what these characters might say to one another. These dialogues may develop a back-story that is never used in the actual performance of the story. What is important is that I understand the background more than my audience.

Don Doyle and I pressed the record button on the tape player and performed pieces or scenes of the story. Camcorders work, too. If I cannot find another person to play along with dialogue, then I can always represent all the characters. This is all impromptu so pauses, stumbles, and stutters are perfectly accepted.

Keep in mind that these scenes are all dialogue between characters. No narration is given. Even if I choose to tell the story with little or no dialogue, this is a fun way to brainstorm.

This is my chance to imagine the possibilities and reminds me that the story should never be frozen to one way.

I believe I am no longer in the black frostbite zone. Where are you?

When I want to tell the story again, I will review the French Scenes, Pictures, and Recorded Dialogues. Once I go through these exercises and after I have told the story many times--perhaps 50+ times--then I can finally type the story for my legacy.

Only this time when I write, I will keep my mittens on to keep my fingers from writing frozen stories.

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

Everyone a Mentor

I learn from everyone that I meet. In this way, mentors surround me.

National storyteller/coach Doug Lipman is always sharing the message of finding mentors. These mentors can serve in several areas. For example, a storyteller could use a mentor for coaching. Another mentor could aide in marketing. Still another mentor can be a pure listener. Anything you would like to study in depth--whether strength or weakness you possess--can be a reason for a mentor.

I believe the more people involved in my life, then the richer are the lessons I learn.

As of now, I consider the monthly gatherings of the Utah Storytelling Guild as a large group of mentors. I tend to focus on their skills for artistic development. I also meet monthly with a small group of four tellers at a library that may be artistic development mixed with marketing. Finally, there is an individual who always challenges me to the next step in my storytelling career.

Still, I search for more mentors. I appreciate those who currently guide or motivate me. Yet, there is an endless list of skills to hone. Being an intense listener is one of these oft forgotten skills.

Thankfully, mentoring can be done in-person, by telephone, or by email. A mentor could live on the other side of the world and technology would make it possible to still communicate.

I prefer to meet with some type of individual or group at least once a week in regards to storytelling skills. Being a storyteller can be lonely despite performances among vast audiences.

If you would like to be a mentor and/or a mentoree, then you can go to http://www.story-lovers.com/mentors199.html.

You will be asked to email the following information:

Location by region:

Name:

Email address:

Website:

Objective: Being a mentor or a mentee or both

Years of experience as a storyteller:

Special interests in storytelling:

Special experience in storytelling:

Brief bio:

What you can offer:

What you are looking for:

Who knows? Perhaps we will be mentors for each other!

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