Story in its Simplicity

Beauty surrounds simplicity. Story can and often does encompass such beauty.

Storytelling could be reflected in the following words:

1. Listening
2. Sharing
3. Thinking

Listening

Before the performance, there could be the sound of energized buzzing. People enjoy the company of others while anticipating the stories to be told. When the emcee greets everyone, there might be a moment of silence—the waiting for the storyteller to get on stage.

In this short moment, imaginations warm up.

For those hearing stories at a family gathering, there may not be microphones to adjust. Instead a grandpa, aunt, or other relative may be sitting on the coach and shifts in the seat before sharing an experience.

Silence, once again, heightens the instance.

Applause welcomes the storyteller on stage. The story begins.

Sharing

The space shared with the storyteller and the audience allows more room for each story to spout forth.

A smile, a frown, or an excited look cues the storyteller on the reception of the story.

Characters are introduced. Settings are painted. Storyteller and audience alike feel like they know everyone involved . . . even if it is the first time hearing the story.

Thinking

When the story has impact, then the level of thought intensifies.

The reactions may vary from “Huh! Well, what do you know?” to “Now who did that remind me of?” to “What do I do now, after hearing that?”

At times, there could be the thought “When will this story be over with?”

Or the story is not thought of at all. Other things press into the mind like: what needs to be added to the grocery list, cleaned in the house, or completed by the ever-looming deadline?

Though most likely, your experience was one to think about again and again and again.

You find it looming in your mind until a story must be told and continue the cycle: listening, sharing, and thinking.

So go ahead.

Enjoy the simplicity of story.

Jackpot! 5 Ways to Boost Your School's Luck with Storytelling

I am not a gambling person, but I am willing to bet that storytelling would make a difference in any school.

If the art is promoted and supported, then it may not be long before students experience higher test scores and. . .some major life skills.

5 Ways to Boost Your School's Luck with Storytelling:

• Classroom, School, and District Level Events
• Training Teachers to Merge Storytelling with Curriculum
• Storytelling Residencies
• Games
• Schools Standards

Classroom, School, and District Level Events

Any state could be a strong youth storytelling state. One classroom could lead to one school and finally one school district who support the art.

In Utah, the following school districts promote storytelling the strongest: Alpine, Davis, Jordan, Morgan, Ogden, and Weber. The Canyons District is in progress to be added to this list. Private and charter schools are becoming more interested due to the Weber State University Storytelling Festival. In February 2010, there were 87 youth tellers invited to tell for the festival. This did not count the hundreds of students who had classroom, school, or district level showcases to determine the top tellers.

Did Utah become this way overnight? No.

Though if you would like a "fast-forward" approach, then nearby festivals need to extend invitations to schools. You may be surprised at who accepts the opportunity.

Training Teachers to Merge Storytelling with Curriculum

A one-time visit from a professional storyteller can have influence, but teachers are with their students on a daily basis. These teachers could take already-made lesson plans and merge storytelling in them.

A book called “Story Proof: The Science Behind the Startling Power of Story” by Kendall Haven shows that test scores do go up when students learn through story-based teaching. The brain seems to feed off stories and remembers facts much more quickly that way.

Storytelling Residencies

Schedule a professional storyteller for more than the "one moment" with the students. When there are 2-8 weeks dedicated to literacy and communication skills, then a storyteller could guide the course through stories.

The lessons linger longer. . .and so do the "happily ever afters".

Games

Any storytelling game could connect with the curriculum. Kids to adults love these activities. Games serve as a way to kick-off a new topic or section, to reinforce concepts, and to review.

Example Game: Mixed-Up Mayhem

Set aside a bowl for each of the following categories or create your own: Status, God of Choice, Daily Activity, Place, and Object. Note that these reflect social, political, religious, geographical and economical areas. On slips of paper, write a word and place in the appropriate bowl.

For a Greek game, here are ideas to put in each bowl—

a. Status—Rich, Middle Class, Poor, Slave

b. God of Choice—Zeus, Hera, Athena, Hephaestus, Ares

c. Daily Activity—Farming, Sailing, Hunting, Wrestling, Attending Wedding, Running Household, Going to School

d. Place—Athens, Sparta, Mediterranean Sea

e. Object—Lyre, Flute, Petasos (broad-rimmed hat), Metal Headband, Tunic, Hairpins, Rattle, Little Clay Animals, Yo-yo, Terra-cotta Dolls, Pet Goat, Pet Mice

Pull a paper from each of the bowls. Create individual or group stories that connect each of the items drawn. Be prepared for stories to go in any direction as long as all words are used.

School Standards

The Youth, Educators, and Storytellers Alliance has a one-page position statement that could guide states in how to review their school standards.

These standards are not in stone and chiseling the words "story" or "storytelling" into it does not have to be an impossible task.

So take a chance. . .roll the dice. . .and see if you can soon yell "Jackpot! There's storytelling in my school!"

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/

Family Famine Series Site: http://www.familyfamine.com/

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

"Eat, Pray, Love"--A Teller who Traveled to Conference

Thanks to Karen Rae Kraut, we have this picture (left to right): Rachel Hedman, Joel ben Izzy, and Willa Brigham. This was after we sung and danced "We love our hats!" at the 2010 National Storytelling Conference in Los Angeles. Consider it a jazzy thankful prayer.

Elizabeth Gilbert's memoir "Eat, Pray, Love" has had a resurgence of popularity with the movie hitting theaters.

Little did she know that those three words could also apply to anyone attending a storytelling conference. . .or any kind of conference.

I have had the privilege to attend six National Storytelling Conferences: 2004--Bellingham, WA; 2005--Oklahoma, OK; 2006--Pittsburgh, PA; 2007--St. Louis, MO; 2008--Gatlinburg, TN; 2010--Los Angeles, CA.

Here are some wisdom gained:

Eat

Whether the aroma of food or the word "free" in front of "lunch", people are drawn to meals. A storytelling conference revolves around food.

Focus groups. . .and eating.

Membership meetings. . .and eating.

Celebrations. . .and eating.

With so much food to be had, sometimes came the thought, "Boy, do I wish I would have asked the hotel if they had a small refrigerator!"

I smiled when the National Storytelling Network membership meeting merged with a free lunch for the Los Angeles Conference. More people seemed to linger and listen than at other conferences. As we relished in the one-minute stories of why people came to the art, the entertainment brought a satisfaction to our stomachs.

Eating does not consist only of that physical sustenance that calms the grumbling stomach.

There is plenty to feast upon while at a conference. There are workshops, intensives, concerts, fringes, keynotes, story swaps. . .and the list could go on. A conference attendee may be tempted to "taste it all".

I used to think I had to go to everything. Then, with conflicting sessions, decisions had to be made. I could rush everywhere and go crazy. Or, I could absorb whatever opportunity presented itself in the moment. Giving attention to one person in the hallway may be better than being counted among the hundreds.

As can be the case in eating too much, there is the risk to spew forth when too much is in the belly.

Allow time to digest and savor every flavor.

Pray

Singing naturally comes from my mouth. If I do not sing, then a hum is sure to pass my lips. All is like a prayer no matter the tempo or energy.

Some conferences have had talented musicians like Larry Brown, Joseph Sobol, or Willy Claflin to strum the guitar and inspire the people in group singing. For the Los Angeles Conference, I watched delightedly as my friend, Holly Robison, was asked to join Joseph and Willy on stage. She swayed with the music and added an angelic voice to the mix. Her wardrobe had a modern hippie look with her yellow loose slacks and long yellow scarf. Since the song was a parody of the classic "Get Together" by the Youngbloods on the changes for the National Storytelling Network, everything established the perfect mood.

Afterward I told Joseph, "You see why I love working with her?"

Holly and I sometimes do tandem telling/singing for the Family Famine Series. Electric guitarist Joshua Payne joined us for the "Family Famine: Hunger for Love" fringe while at the Conference.

On Sunday morning of the same conference, Victoria Burnett slipped on some white gloves and gave us a "tour" of the Black Baptist Church (B.B.C.) with music that could move any soul. With swaying and call-and-response, the hotel ballroom transformed into a spiritual place full of fervor.

Love

Even as a new conference attender, you could feel the urge to embrace when a Facebook friend or social network buddy becomes flesh for the first time.

Holly Robison, as one of these new attenders, said, "I've been telling people how generous and loving the storytelling community is. . .then at the conference, I saw that as I talked with people, they were genuinely interested in what I had to say."

If you are not the kind who gives--or receives--hugs, then you may at least give handshakes. The next step could be to place your hand on someone's shoulder.

I lost track of the number of hugs I gave or received during the Los Angeles Conference or any of the conferences. Many people relate conferences as family reunions, and who fails to hug at a reunion?

Laughter and tears are shared along with the hugs. As my husband and I are in the middle of the adoption process, several peopled asked for updates. Sometimes I did not know where to start except that "On January 20, 2010 we became 'visible'. Birth parents can find us online now." A smile spread across my face as I told people, "I am a vocal person. When there is something to report, you will know!"

So. . .Eat. . .Pray. . .Love!

You find it all no matter which storytelling gathering you attend.

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/

Family Famine Series Site: http://www.familyfamine.com/

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Creating a Youth Storytelling Community One Kid at a Time

Most youth storytelling events are just that: events. Nothing may occur for another year. Until then, the youth have nowhere to express their talents.

This is assuming that you have at least one youth storytelling event in the area.

Even with intense organizational efforts, the youth may not feel like they were important to its success.

One youth teller stated in front of parents, teachers, and coaches, “No. This festival is not about me.”

For such a youth-centered event, the answer was devastating. The leaders vowed to change this perception.

To create a youth storytelling community, you will need to:

1. Build an Event for Youth
2. Develop Reunions and Gatherings
3. Promote Storytelling Games and Fun

Build an Event for Youth

Expand your mind as to what could be considered an event such as a: party, social gathering, house concert, library activity, school assembly, campus celebration, civic meeting, contest, festival, etc.

An all-youth storytelling event is preferable, though youth tellers could share the stage with adult tellers and performing artists. Some places encourage artists to come from the community, thus inviting amateurs and professionals. Adult and child levels could be supported.

A festival allows for more than one youth teller to participate in the program.

For the three-day Weber State University Storytelling Festival, 87 youth took part along with 4 national tellers and 30 Utah adult tellers.

Most events will not have as much opportunity to highlight that quantity of youth. If the audience leans towards about 50-100 people in the audience, then 3-5 youth might be able to join the other performers.

Having one youth teller as part of an event would still be one more teller than what normally occurs.

Develop Reunions and Gatherings

A parent exclaimed, “My child has been anxious for this reunion for months.”

After 14 years, the Weber State University Storytelling Festival endeavored to hold a Youth Teller Reunion. The idea could be one of the first of its kind.

During the 2010 February festival, each of the 87 youth tellers received a “Save the Date” postcard. At the beginning of June, letters and RSVP cards arrived to the youth’s homes. Inside the letter the youth were told, “You are officially part of the Festival Family and will be invited every year to this new tradition.”

Youth tellers from other festival years could join the reunion, but that would come from word-of-mouth. One year’s worth of youth would be a large enough group for the kick-off.

An event involving any number of youth inspires a reunion. Three youth would be enough to have an ice cream party or a retreat. Besides, it is easier to arrange smaller gatherings. These gatherings may evolve into something bigger like a reunion.

A reunion need not be an expensive affair.

The Youth Teller Reunion of the Weber State University Storytelling Festival was fortunate to have the Ogden Eccles Dinosaur Park waive its rental fee for the space. The park already generated excitement. The Park offered for the youth teller and one parent to attend for free while other family members paid the group rate.

Out of the 87 youth, 24 came. With parents and family members, the numbers reached 76 people.

To further the low-cost approach, the families brought their own lunches. The festival donated items like water bottles, Frisbees, storytelling CDs, and posters as door prizes.

About a week previous to the reunion, 12 names of youth tellers were drawn to determine fairly who would perform for the concert at the park. After the concert, the families could roam the dinosaur park for as long as they liked.

A reunion provides a story-filled day to energize the youth to continue in the art.

Promote Storytelling Games and Fun

While at the Youth Teller Reunion, parent-volunteers led the youth in games. Once taught, the youth could play the games and teach others . . .possibly other kids in their neighborhood.

Provide a copy of these games, possibly through email, to the youth. Give them freedom to adapt the ones on the list or to create their own games.

The youth may enjoy playing the games so much that they will wish to form a storytelling club. These clubs may be as informal as kids wandering into the same space and “talking stories”. Some organizations, like 4H, may sponsor the gatherings while some schools may opt the storytelling clubs as after-school activities.

For storytelling game ideas, check out the book “Raising Voices: Creating Youth Groups and Troupes”.

I also feature a storytelling game each month as part of my e-newsletter. You can go to http://www.rachelhedman.com to sign-up for this free resource.

So what are you waiting for?

Your youth storytelling community may have the population of one.

But one plus one plus one plus one. . .it adds up.

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/

Family Famine Series Site: http://www.familyfamine.com/

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

When is a Folktale a Folktale? Today’s Changes to Yesterday’s Story of the People

A folktale tends to conjure images of shrouded forests with country peasants, majestic mountains inhabited by isolated hermits, or dusty deserts pitched about by canvas tents of nomadic tribes.

A folktale is usually not thought of in a setting like New York City with its skyscrapers and bustling people.

Yet, a folktale, in all its simplicity, is a story of the people.

Time does not really factor into the folktale equation. We like to add the “long ago and far, far away” as probably a part of nostalgic and romantic notions.

New York City could be admitted to be as grand as any kingdom spoken of in classic folktales.

Universal themes are still the same from the past to the present. These themes provide the foundation for folktales.

There are three main areas that have changed:

• Common Characters and Jobs
• Self-Made Monsters and Disasters
• Rural to Urban to Viral

Common Characters and Jobs

In the folktales of the “long ago and far, far away”, the main character or hero tended to start as a farmer. Oftentimes, some royalty made an appearance.

Today we continue to have our workers and our leaders, though we name them differently.

Jack’s mother may not be asking for her son to take a cow to town for some money (and have Jack bring back magic beans instead). Now Jack’s mother is asking for her son to take his college education and find a job in this high unemployment world. Jack is lucky to bring home some beans.

People like Jack and searching for the gold that would support their homes. Climbing the beanstalk is often the only way to do it. That could mean gaining further education or climbing the corporate ladder.

Folktales could center on the adventures of being a student. Passing final exams circulate as stories with the rituals and traditions involved.

Besides the perpetual student, we have occupations that did not exist to such a degree a hundred or more years ago.

Horse-drawn carriages have made way for automobiles. Sending letters by carrier have many times been sent through email. Books and programs could be placed on microchips and in software packages. Vaccines and cures have burst forth from healthcare research. And the list could go on.

Self-Made Monsters and Disasters

We still have killer crocs and devil pigs. We even have giants, though ours today go on to swallow fire and swords and become a finalist for “America’s Got Talent”.

One of the largest self-made monsters of the day: identity thieves.

So the idea of becoming someone stealing or becoming someone else is not new.

Consider the infamous folktale character “Master of Thieves”. If you delved into folktales from Iraq, it seems every other piece involves a man dressing as a woman or a woman dressing as a man so as to gain glory and gold or to avoid death and detection.

Now people are becoming other people without the clothes . . .only dressed in a social security number.

As for disasters, we live in a time when millions of gallons of oil could spill out from reckless offshore drilling and destroy coastline communities faster than any hurricane or flood. Though, not to be forgotten, these natural disasters still pound from the skies and the earth and compound the self-made disasters.

Stories of the past always involve battles, but now the bow and arrow and guns have made way for bombs. Earthquakes are not the only things that tremble the earth.

Rural to Urban to Viral

As we share the news of events with others, we can credit many words used to explain storytelling from country influences such as “spinning a tale” or “old wives’ tales”.

Whenever there was a barn raising or a celebration of some kind, the farmers and their wives would gather. The women had their area of their quilting bees and spinning wheels and would share stories and gossip while doing these repetitious tasks.

Then the printing press became more common and newspaper were born. Cities housed these machines and the stories disseminated mainly from these heavily populated places rather than the countryside.

Now we have the Internet. A person could zip a message to a friend on the other side of the world in seconds.

Our folktales and folklore are being chronicled mainly through Facebook, Twitter, and YouTube.

Stories are continuously before our faces. The question becomes, “Do we value them?”

You are part of the people. The answer lies with you.

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/

Family Famine Series Site: http://www.familyfamine.com/

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

The Story Seed Idea: 3 Ways to Grow More than One Version on the Vine

Jack grew a beanstalk overnight from one bean. A storyteller plants one version of a story in mind and then cultivates a unique version that can be as impressive as mile-high vegetation.

Sometimes one version is all a storyteller can find after hours in the library. Certain stories are easier to find than others. When researching the classic King Midas story, I read 72 versions before exploring how to develop my voice to the tale.

Most stories do not offer so much material.

So what does a storyteller do when nothing can be found?

3 Ways To Grow More Than One Version Of A Story:

• Culture
• Current Events
• Classifying through Aarne-Thompson System

Culture

Delving into the culture of a tale is most obvious for folktales, though any story has a culture connected to it. Keep in mind that culture could include a region, time period, religion, social group, gender, or generation.

A story tends to state its area of origin. A folktale could be told in general terms and lack any reference to the cultural elements despite being labeled as a “Cuban” or “Ojibwa” or “Vakishamba tribe in Africa”. The story might have a word or phrase of the language that provides flavor. Otherwise, the teller could add foreign words.

A storyteller may find benefit in learning the social traditions connected to birth, marriage, death, or other events and merge it with the original story.

Books from the juvenile literature section provide excellent pictures so that the storyteller could create a pretend map of the scenery for the folktale.

Current Events

The Internet, especially Facebook and Twitter, have expanded exponentially how people access the news.

Through Twitter, people could receive mini press releases with no more than 30 words. A website usually accompanies the post for more details. This tiny version of news makes it possible to scan headlines of 100+ stories in a few minutes. A storyteller could click on the tweet that relates closest to the story that the storyteller may be working on at the moment.

For example, in the Aboriginal Australian story “Gooloo the Magpie and the Wahroogah” a magpie-woman named Gooloo offers to watch over the tribe’s children while the fathers hunt and the mothers gather fruit amongst the trees. When the mothers return, the children are gone.

A storyteller might find a newspaper article or TV broadcast that focuses on a kidnapping. Though the cultures may be different, the news would share the heart wrenching feelings felt by the parents. A storyteller may gain inspiration on how to approach the Australian tale by merging with universal emotions and themes.

Classifying through Aarne-Thompson System

Librarians have the Dewy Decimal System to find books. Storytellers have the Aarne-Thompson System to find stories from the folk and fairy tale realm.

The Aarne-Thompson uses letters and numbers to divide categories and themes.

For the motif of “Conception and Birth”, a storyteller would find those stories from T500-T599. Within these numbers are related subcategories.

Consider some of the types found under T500-T599:

• T511.1—Conception from eating a fruit
• T511.1.1—Conception from eating apple
• T511.2.0.1—Conception from eating root
• T511.2.0.1.1.—Girl called Gatherer because she is best in tribe at knowing and getting plants
• T511.2.0.2—Conception from eating leaves

Underneath the numbers, often one or more story is listed. Sometimes there are complete bibliographies. A storyteller searches for the recommended books and continues the research adventure.

“The Storyteller’s Sourcebook” is a fantastic book compiled by Margaret Read MacDonald with the Aarne-Thompson System as well as the ability to search by subject and title. Although out-of-print, many libraries have this book in their reference section.

Even when a storyteller develops a personal or historical piece, discovering folktales that have similar themes could be considered explorative research. Inspiration comes from everywhere.

Suddenly the one version a teller started with could branch into endless possibilities. . .as endless as that beanstalk that Jack climbed.

Do you have your story seed?

Let it grow!

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/

Family Famine Series Site: http://www.familyfamine.com/

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Math Madness: 3 Number Types to Track that Add to Success in the Arts

This post was inspired by past experience as well as by Wendi Hassan, Executive Director of the Alliance for the Varied Arts and a consultant to Utah Presenters. She created a presentation and CD called “A Metrics Primer for the Artistic Mind”. Contact Wendi at whassanarts@gmail.com for more details. Or click here and order a MP3 recording for $5. It was commissioned by the Utah Arts Council.

Hovering over a calculator may be the last thing you want to do.

From taxes to bills, numbers could drive any artist to insanity.

Never fear.

There are numbers out there that have nothing to do with sending money to someone else. Rather, these numbers make it possible to RECEIVE money from others who love the arts.

Every number has a story and it is up to you to transform cold fact to warm experience.

You might be connected with an event that has been an annual tradition for 20+ years. You might be on the brink to start an event.

So what kind of numbers do people want to know about your art?

Remember to track these number types:

1. Audience Types and Consistency

2. Volunteers and Community Involvement

3. Direct Costs and Indirect Impacts

Audience Types and Consistency

Besides smiling at everyone who attends, notice details about the audience. You will often be fascinated by: average age, range of ages, and ethnic groups—attending and “missing”.

Ticket stubs or hand-held metal clickers could be inexpensive items to figure out attendance.

Some events do not require a ticket. Other places have “free” tickets as they serve more of a reservation or RSVP than an actual proof of purchase.

You could provide surveys or feedback forms that use 1-10 scales on enjoyment to receive “hard” numbers. A mix of 3-8 quantitative questions with 1-2 qualitative usually avoids overwhelming the audience member. Attempt to fit the questions on no longer than half sheet of paper.

Be sure to have a place for audience members to put their name and contact information. Include a way for audience members to grant permission for the possibility of using quotes for advertising.

You may want to have a drawing for anyone who returns a form. To promote privacy in answers, a person could receive a ticket stub in exchange for a completed form. Prizes could be mailed to the address on the stub.

The audience type and consistency could give you a hint as to the target market to reach the next year. It could also indicate that the intended audience did not match to those who actually came. Either you could celebrate and continue to connect with the type of audience that did show or you could reevaluate the advertising literature and strategies on why different results were received.

Volunteers and Community Involvement

You probably sent thank you cards to your glorious volunteers and sponsors, but how much do you know about them?

Detect trends, if any, of these people and organizations. You might consider creating a survey similar to what was created to learn more about the audience members.

As for volunteers, these people may range from Cub Scouts groups to retired individuals. Remember any event planners, directors, or Board members who may not have the title of “volunteer” but are still giving of time.

Though most of the attention focuses on event’s profit or impact, time is the most precious commodity for any event or organization.

For volunteers, consider the following and expand to address your needs:

• How many volunteers helped out?
• What is the average age of the volunteer?
• What is the range of volunteer ages?
• What was the average volunteer time dedicated to the event?
• What was the range of minimum and maximum time given?
• How did the volunteers learn about the opportunity to serve?

As for community involvement, this could mean corporations, associations, or individuals who sponsor through money, in-kind, or services.

For sponsors, consider the following and expand to address your needs:

• What category or type of organization or business does the sponsor fit in? Examples: Art Group, Retail Business, Civic Organization, Youth-Oriented Association, Retired Individual, etc.
• What was the value of the donation? (Product vs. Service)
• What donations, if any, has this sponsor provided in the past for your event? Plans to provide for the current year? Intends to give in future years?
• What is the key motivation for the gift? Other motives?

Direct Costs and Indirect Impacts

Consider the cash flow. Gather all the invoices and receipts in one place throughout the planning and implementation.

These receipts may include:

• Location Rental
• Artist Fees
• Employee Wages
• Stipends or Grants
• Advertising Event
• Website Space and Maintenance
• Certificates and Awards
• Hospitality Bags
• Transportation/Lodging
• Food
• Sound Equipment
• And on and on and on!

Correlate the not-so-obvious impact with such things as:

• Hotel Occupancy Rates
• Restaurant Receipts
• Retail Sales
• Property Values

Classic Equations

• Cost Benefit Analysis = Expected Benefits vs. Expected Costs
• Return on Investment = (Income – Investment)/Investment
• Sales Tax Gap Analysis = Expected City Expenditures/Estimated Taxable Sales (less than one means leakage)
• Lifetime Value of a Patron = Annual Expenditure X Average Years Retention
• Economic Impact = Direct and Indirect Spending X Multiplier

Multiplier is a measure of how quickly new money “leaks” out of a geographic area.

Leakage is what fails to be consumed, attended, etc. and could refer to money, taxes, products, or performances.

If these equations seem “scary”, then recruit someone to work out these calculations for your event or organization.

Your Number Story

Tell the story of the event’s results once numbers are gathered about the audience, community impact, and other costs. What do you believe caused or impacted the numbers? Why?

Play with possibilities rather than being perfect in the answers.

The telling of this audience story may be most useful when shared aloud, written down, or recorded. There could be several versions of the story. As the story is told over and over, feel free to tweak or change the story as more information or insights are illuminated.

Sometimes the numbers provide a “happy ending” for the event. . .or it could be better described as a Greek tragedy. No matter the results, recognize that “things happen” for good or bad. Be humble with high and encouraging numbers. Comfort yourself that there will be improvement with any pit-of-the-stomach numbers.

Besides, you are involved. That should count for something!

***Besides collecting statistics for your event, search for any other number stories available for events that are either similar in art form, style, or that match your intended audience. When gathered before your event, personal goals could come from it. You might also gage your success by looking at those numbers.

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/

Family Famine Series Site: http://www.familyfamine.com/

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Are You Hunter or Gatherer? Common Ways Storytellers "Live Off" the Art

Ever since learning about the Ice Age during elementary school years, I delighted in creating dioramas to imagine how people survived once the snow melted.

It was as if we had our mini versions of the museum’s mannequins dressed in buckskin clothes or furs while building a fire, sharpening a spear, or gathering seeds to plant for later.

No matter what culture or country, there has been a history of hunters and gatherers. One way of gaining nutrients is not better than another way. They simply are different.

Naturally, these two ways reflect how storytellers “live off” the art.

Are you a hunter? Are you a gatherer? Are you a mix of both?

Before reading the following statements, consider your experience in the art. Are you new? Are you a veteran of over one or more decades in the art? Ponder on how this experience may affect your answers.

Our hunter and gatherer tendencies may change depending on our stage in the art.

Part 1—

On a piece of paper, write the label “Hunter” and then list numbers 1-7 per line. For each of the seven statements, choose any of the following: Strongly Disagree, Disagree, Neutral, Agree, or Strongly Agree.

1. I enjoy the simplicity of working alone and dwelling in my thoughts.

2. I am frustrated by the conflicting artistic advice from friends and colleagues.

3. I am uncomfortable when a certain number of professional storytellers live in my area.

4. The more I am around other storytellers and artists, then the more distracted I am in regards to my own goals in the art.

5. Clubs, guilds, and organizations add little or no value to what I already know about the art.

6. If I was the only professional storyteller alive, I would still feel motivated to progress in my art.

7. Organizations come and go, but the art is forever.

Now give the following point value for any answers for the above seven statements.

Add your points together.

Total possible = 35 points.

If you have 25-35 points, then you have strong Hunter tendencies.

As Hunter:

You seek out and hunt opportunities and independence. You get your “meat” or performances by the direct actions you take rather than relying on other people or organizations to help make those connections. You improve in the art most when alone and in a calm environment. Although you may interact with other artists, it is more to forward your goals than to progress the vision or mission of others.

Part 2—

On a piece of paper, write the label “Gatherer” and then list numbers 1-7 per line. For each of the seven statements, choose any of the following: Strongly Disagree, Disagree, Neutral, Agree, or Strongly Agree.

1. I am quick to join one or more social networking sites involving storytelling. (Examples: Professional Storyteller social networking site, Facebook, Twitter, etc.)

2. I attend storytelling guilds, gatherings, or other social events on a regular basis.

3. I am willing to rearrange my schedule to attend storytelling social events.

4. I refer often to what I have learned at storytelling conferences or gatherings while talking with others.

5. I am anxious to list or share how the art has been strong in the area to fellow artists, neighbors, or acquaintances.

6. My storytelling activity would decrease if certain storytelling groups or events dissolved.

7. A brainstorm session, whether with strangers or colleagues, would be more valuable than a solo brainstorm session.

Now give the following point value for any answers for the above seven statements.

Add your points together.

Total possible = 35 points.

If you have 25-35 points, then you have strong Gatherer tendencies.

As Gatherer:

You gather information and people connections. You harvest so much sustenance that sometimes the “food” goes into storage until you are ready to intake the message(s) or to build upon the relationship(s) formed. You feel an added energy whenever you are around people—whether colleagues or strangers. You improve in the art most when others are there for you as sounding boards, mentors, or as friends. Although you relish in interacting with others, you sometimes feel an overload. The knowledge you meant to apply might be forgotten and the people you meant to keep in contact are lost.

What If You Are Hunter And Gatherer?—

Take the strengths of the Hunter and the Gatherer and create a balance that will keep you fed through any of the “starving artist” times as well as through the plentiful seasons. Be willing to adapt to use the skills that would be most useful during the current economic times.

There are moments when you need to go off into the “forest” to realize and achieve dreams. Though, whenever going alone, you may want to tell one or more people of your intentions so you have a caring support system in case you get lost.

Even the mighty hunter is not meant to be alone. And the gatherer could always use those quiet moments to put everything into perspective.

So go forth and enjoy your catch or harvest! You deserve it.

In case you were curious, I had 21 points as Hunter and 31 points as Gatherer. Feel free to share your results as a comment to this post.

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/

Family Famine Series Site: http://www.familyfamine.com/

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

The Call to Lead: 3 Pros & Cons for Tellers to be Event Organizers

When a storyteller graces the stage long enough, it seems only a matter of time when that same storyteller wishes to create other stages for the art.

Opportunities emerge and another festival or event is born.

The dedication and desire to answer the call to lead is commendable.

If storytellers are aware of the advantages and disadvantages of pursuing these ventures, then the strengths could be heightened and the weaknesses reduced or eliminated.

Pros:

1. Awareness of Storyteller Needs for Event

Not everyone understands the storyteller. Some of the basic room set-up and sound check needs are misunderstood or unknown. Nevertheless, our demands usually do not require as much sound equipment or staging as other performing artists.

Before teaching a storytelling workshop, I was able to view the room. I then forwarded to the building coordinator a visual map of how to place the chairs and the kind of microphone that would work best. Rather than having to fix or rearrange chairs in a semi-circle fashion the same day as the session, the presenters had more time to welcome and mingle with attendees so to create a friendlier atmosphere. A teller-turned-producer could educate others and prevent a nightmare such as audience members being on two sides of the teller instead of one side or even a crazy circumstance of an audience completely encircling the teller.

2. Leader on Stage Translates to Leader of Project

The fact that someone has a microphone does not automatically make that person a leader. Yet, the willingness for people to listen is a sign of leadership. A storyteller has the advantage of people wanting to hear what the teller would say. While planning and organizing events, the storyteller could use this confidence to relate ideas with the committee or board.

3. Creative Solutions and Ideas Come Naturally

A storyteller seeks to find a unique way to tell a tale. The same tactics to explore a story could be used as brainstorming tools to think beyond the typical board member. The idea of “play” will excite the others on the committee so that other wonderful and grand ideas surface.

Cons:

1. Torn of When to be Teller vs. Leader

Most people choose to act one role or another. When both roles of teller and leader are attempted, then delegation becomes tricky.

During one festival, a contracted storytellers had an emergency--as sometimes happens--and a last-minute replacement had to be found. With only a day notice, it seemed best for me, the chair, to take that spot since I had a repertoire large enough to change dependent on the audience. Some stories came to mind, but were quickly changed when mostly 1st graders entered the room rather than the expected 4th graders. Meanwhile, since I was telling, I could not be at the storyteller check-in table. One of my committee members had to stay longer at the table than what was intended. Nevertheless, the decision had to be made so the festival could continue to flow without the audience being aware of the desperate change.

2. Less Time on Stage

As consequence of having more duties, a producer may not have a chance to tell stories at the event . . .unless the event is meant to completely spotlight the producer as found with fringe or solo performances. Otherwise, if there are other tellers involved as with a festival, a conflict of interest may develop if the producer is given too much time with the microphone.

3. Focus on Art Distracts from Executive Decisions

An artist tends to think more in idealistic terms than the realistic. The vision may be clear, but then the ability to pursue the dreams may be problematic when faced with budgetary or volunteer restrictions.

So if the call to create or organize event comes to your storyteller mind, embrace it. Build that story for the event that creates your vision of a “happily ever after”.

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/

Family Famine Series Site: http://www.familyfamine.com/

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

The Story Police: 3 Ways We Arrest Our Progress in the Art

Laurie Allen, professional storyteller and music teacher, mentioned the term "Story Police" during a Utah Storytelling Guild meeting. With her permission, I have taken that phrase as well as three common sayings either said aloud or in our minds.

A five-year-old boy playfully grabbed another five-year-old boy and exclaimed, "I'm a police officer and you're under arrest!"

I smiled, but wondered about this response. Seeing the reaction from me and the three other kids in the room, the boy repeated, "You're under arrest! You're under arrest! You're under arrest!"

My smile changed to worry. Since I am married to a man who works for a police department, I did not want the boy to think that taking people to prison was the only duty of a police officer.

Despite all the help that police give--from finding parents of a lost child to "How to Change a Flat Tire 101"--sometimes we first think of the negative.

That could also happen when you hear the term "Story Police".

The following sayings may sound familiar. . .though there are also positive counterparts:

Negative: You can't do it that way. That is not storytelling.
Positive: Storytelling is an art of exploration.

The definition of storytelling is as easy to define as cookies. People have a vague idea of what to expect, though there are certain people are definitely know what it is not. An official answer has never been posted by any of the main storytelling organizations, perhaps for fear of being labeled as "Story Police" or offending friends in the art.

This does not prevent people from thinking--or spouting--their opinions.

Our lives are inundated with story. It is only natural that people would have many ways to express what they mean by the art.

Negative: No one would be interested.
Positive: Somewhere there are people willing to listen. Let us find them.

Though we are unique individuals, we also share universal experiences. Then, there are cultures and sub-cultures within our world who think in one way or another. Based on statistics, there must be others who would enjoy or embrace your storytelling program or idea somewhere. Of course, there is always the chance to come upon something so specific, it is not financially sound to pursue the idea as a professional storyteller.

We need to balance the potential audience members to the compensation expected. Otherwise, it may be another reason we have kids and grandkids. . .guaranteed audience!

Negative: Why did you think of something that dumb? That will not work.
Positive: Stories evolve and so do my ideas.

Sometimes we wish we could look into the future and discover if our ideas would work before we work on them.

So far, a time machine has yet to be invented.

Meanwhile, we must approach ideas through the trial and error method. A person could have hundreds--even thousands--of failed projects and ideas. I have heard people say that each failure is then one step closer to success. Yet, when that grand idea comes as a result of learning from the failures, people remember most your accomplishments.

If you ever need assurance of this fact, then attend a funeral or a wake.

The next time you hear "Story Police", consider that we do not have to put our art under arrest. Rather, we could live and tell in our neighborhoods. . .with safety and peace.

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

The Learning Listener: 3 Areas in Storytelling to Hearken

The storyteller is known more for talking than for listening, though both skills are needed to truly be extraordinary in the art.

While the weekend before Thanksgiving is dedicated every year as Tellabration! (National Storytelling Network), a worldwide celebration of storytelling, the Friday after Thanksgiving is dubbed National Day of Listening (StoryCorps).

Does this mean we first tell and then we listen? Then to what do we listen?

As ever-learning artists and human beings, we need to listen to:

• Self
• Story
• Society

***These three areas happen to be in the title of the journal "Storytelling, Self, and Society". The intention of this post is to focus on these elements and does not mean to infringe on any publication name.

Self
We need to listen to ourselves before we can expect to give proper attention to other areas. Sometimes we need to build the confidence to not only listen but to hearken to our intuitions and first impressions.

Some questions to ask ourselves--

• Who am I as a Storyteller?
• What kinds of stories do I love?
• Where have I told stories? Where would I like to tell stories?
• When have I told stories? When do I plan to tell stories?
• Why do I tell stories?
• How am I different from any other storyteller? How do I share stories?

Listen to these answers. Then hearken.

With the busyness of our lives, we need the silence so we can better recognize these impressions. You could consider these quiet moments similar to the dramatic pauses we add into our storytelling before audiences. The audience needs those pauses in order to "listen" to the images shared by the teller. We, as individuals, need pauses so we can "listen" to ourselves rather than the world.

Story
Many storytellers have felt the urge to tell certain stories at a certain time. A wise storyteller listens to what is needed so that the right story is told for the right people for the right time.

When the story ends, it may not be the intent to promote the "happily ever after"--if it ends happily in the first place.

It may be to ask the audience and the teller--

• Now what? Where do I fit in with this story?
• What action am I motivated to take as a result of this story?
• How have my views changed, if at all?

Listen to these answers. Then hearken.

The storyteller has no control as to how the audience will respond to the tales. Therefore, the storyteller has responsibility to be in tune to what stories are needed in the moment--even if the reason is not apparent at the time.

Society
The most important unit of society is the family. Start here.

Discover what your family members have to impart about their views of the world. This includes the youngest to the oldest people. Each person has amazing stories to share.

StoryCorps tours the world with a special vehicle complete with a recording studio. People meet at this vehicle in pairs as one person is designated the interviewer and the other person is the interviewee--or storyteller. Being able to listen and guide the conversation are key skills needed by the interviewer.

Beyond the family, national storyteller Elizabeth Ellis reflects on the popular culture of the day through movies, music, and books.

For example, after watching a movie, she jots answers to questions like--

• What themes were in this movie?
• What stories, if any, are in my repertoire to match these themes?
• What do I have to say about these themes? What are my views? Opinions?

Listen to these answers. Then hearken.

Rather than reflecting the trends, some storytellers created theme-based programs to promote opposite actions. Who said we have to agree with everyone? That is a different way to listen and then to hearken according to Self.

So. . .are you listening to Self, Story, and Society? Only you know the answer.

Feel free to share your comments here.

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