—"Year of the Adopted Family" book release

Sunday, February 01, 2009

Storytelling: A Word Hard to Define

The following article is a merge of research as well as my views on defining storytelling. It represents a small portion of my Brigham Young University Honors Thesis of "Transformation of the Storyteller's Identity and Role through the American Storytelling Movement" in 2000. See list of storytellers interviewed at the bottom.

Journalism has a rule: ask the easiest question first. As "How would you define storytelling" was posed to twenty-four key people of the American Storytelling Movement, the open-ended question seemed like an easy one to answer. Wrong.

The storytellers usually voiced a caveat to their answer by saying it was "not a simple question," (P. Schram, personal communication, June 28, 2000) "defining storytelling is. . .daunting," (J.D. Sobol, personal communication, October 6, 2000) or "that's a big question, isn't it? (L. Pennington, personal communication, June 23, 2000). Whether they answered confidently or with hesitation, the storytellers' definitions tended to be expansive and broad.

Eight storytellers defined storytelling in seven or less words such as "whenever someone tells a story," the "act of orally telling a story," or the "live transmission of narrative" (M. R. MacDonald, personal communication, May 9, 2000; S. Norfolk, personal communication, May 22, 2000; M. Burch, personal communication, October 7, 2000).

Coming from the world of mime, Milbre Burch did not want to argue anymore with definitions and has a more "expansive view" on storytelling. A one-word definition came from storyteller Peninnah Schram: "dialogue." This dialogue links the storyteller to himself/herself, the audience with themselves, the storyteller with the audience, and everyone--storyteller and audience--with the story (P. Schram, personal communication, June 28, 2000).

When Beth Horner began professional storytelling, she saw storytelling as the "oral communication of a narrative." Now, she has dropped the word "oral," knowing that this new definition includes communication like plays and television programs. She was willing to accept these venues in the definition of storytelling (B. Horner, personal communication, August 15, 2000).

Joseph D. Sobol felt storytellers have had their "thunder stolen" by the media's use of the word "storytelling". He asserted the media latches onto the word "storytelling" because, "Everyone who wants to claim any kind of kinship with the human race will do it by calling themselves storyteller" (J. D. Sobol, personal communication, October 6, 2000). Storyteller Fran Stallings also notes that the word is "plastered" everywhere (F. Stallings, personal communication, May 20, 2000).

According to Lee Pennington, storytelling is "the way we understand ourselves and the way we reveal ourselves and the way other people reveal themselves to us." Storytelling is the "living history of human beings" (L. Pennington, personal communication, June 23, 2000). Most of the 24 interviewees viewed storytelling as a link that connects humanity.

Connie Regan-Blake and Carol Birch saw defining storytelling as comparable to defining truth, beauty, or love. Birch explained, "Storytelling is an experience. . .so words never capture--fully delineate an experience" (C. Birch, personal communication, September 6, 2000).

Judith Black found one of the joys of being a storyteller is that storytelling is indefinable. Black said, "[stories] are so much a part of who we are that I'm afraid that if we define it, we'll be creating a circle that will solidify what it is and what it isn't" (J. Black, personal communication, May 25, 2000). Birch also disliked limitations from definitions:
. . .five years into storytelling I was already tired of hearing people say, 'That's not storytelling.' As if somebody knew what it was and wasn't saying but would only say what it was not. And so for a long time, we have languished in what I have called the 'cult of personality.' 'I like him. I like his stories.' 'I don't like him. I don't like his stories.' We have nothing more informed to say about storytelling than that. We had nothing richer to say about what storytelling was or wasn't than, "I like it. I don't like it.' 'It's right. It's wrong.' 'It's good. It's bad.' So that's why I wanted to try to write something that offered people models to think with instead of prescriptions of what to do or not do. (C. Birch, personal communication, September 6, 2000)
When the National Storytelling Association (now called National Storytelling Network) attempted to create a definition for storytelling, Birch noted the tension:
People were outraged that somebody was even trying to define it. But you do need to identify some of the markers, and that is another thing that a definition is trying to do. It's to identify some markers so people have some place to begin (C. Birch, personal communication, September 6, 2000)
Long-time storyteller Kathryn Windham refused to define it. In a letter, Windham observed that storytelling should not "be dissected as though it was a scientific experiment" (K. Windham, personal communication, April 27, 2000).

Organizations still seek to form guidelines and definitions to unify their members. When storytellers cannot define storytelling, then "storyteller" becomes difficult to define. Broad definitions allow existing and new venues to fall under the category of storytelling. When Beth Horner dropped the word "oral" from her definition, she opened storytelling to the venues in theatre and television while unimaginable venues--especially with Internet on the verge--can be included in this definition.

Currently, society has grasped onto the broad definition of storytelling and has "plastered" the word across media, but broad definitions prevent many people from distinguishing storytelling as an independent art form. Storyteller Laura Simms noted that people are comparing storytelling to what they are already familiar with such as theatre and literature. If storytellers feel uncomfortable with opening storytelling to various venues, then "storytelling" and "storyteller" should be more narrowly defined.

With the diversity found in the United States, finding unifying definitions as to the roles and identity of storytellers appears troublesome. However, the binding factor among the storytelling community is the value of storytelling. Most of the 24 respondents focused on the outcomes and values of storytelling instead of attempting a definition.

Some storytellers are afraid of putting limitations on the art and excluding people from the storytelling community. Rather than being exclusive with the definition, storyteller Carol Birch suggested guidelines be established rather than emphasizing the elements of "storytelling." Discovering a unifying definition for storytelling still proves to be elusive. Yet, the human element as part of the definition serves as a common link with the various answers.

Storyteller Kathryn Windham openly refused to define storytelling because definitions shatter the charm of storytelling and bring a scientific view to the art. With the increasing number of "buzzwords" in the storytelling community, academics enter the scene. The intimacy shared between the teller and the audience can dissolve with the appearance of academics.

Common buzzwords are traditional storytelling, organized storytelling, platform tellers, performance tellers, and applied storytelling. Some storytellers are struggling to find the distinction in these terms. For example, the interchanging of traditional storytelling and traditional stories still exists. Also, storyteller Ed Stivender proposed that if there is a difference between traditional storytelling and organized storytelling; it is technology.

Buzzwords are still at an experimental stage in the storytelling community. The identification of professional or technical jargon provides a light of credibility in the academic world. Many of the 24 respondents voiced a desire for storytelling to gain respect and awareness. At the same time, technical jargon narrows the definition of storytelling. As of now, the tendency is to give broad definitions of storytelling.

Storytellers must decide if they desire to exclude people from the storytelling community by using jargon and narrow definitions or include people from all types of venues--theatre, music, dance, and recitation--by using broad definitions. A balance of these extremes would include and exclude opportunities. Storytellers should determine how they want the art to be perceived by society in order to approach the "right" balance. Storytelling may or may not be definable.

Although storytelling is difficult to define and professional storytellers have not agreed to a single definition, for the emerging storyteller, a definition is essential to guide his or her actions. For the present time, I have determined storytelling as a co-creative experiences involving the senses with an intentional storyteller and acknowledged listener(s). This definition is intended as a guideline--not to be engraved in stone--and provides an expansive view to the art form by including various styles of the art.

With continued experience and research of storytelling, the definition with evolve.

The twenty-four respondents and key people in the American Storytelling Movement:
Their insights on the transformation of the storyteller's identity and role have impacted my life. I could never fully show my appreciation to them.

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
Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller
Posted by Professional Storyteller Rachel Hedman at 9:50 PM 0 comments
Labels: , , ,

Thursday, January 15, 2009

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
Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller
Posted by Professional Storyteller Rachel Hedman at 9:53 AM 1 comments
Labels: , , , , , ,

Thursday, January 01, 2009

The Story Box: World Celebrates One Story at a Time


Thanks goes to Kevin Cordi (pictured upper left) for granting permission to post pictures and to share comments from a telephone interview on December 19, 2008. The end of this post reveals how to have your own Story Box.

A box could hold the wonders of the world, especially if it is The Story Box. As you celebrate the New Year, consider The Story Box as a gift for you and your community. This would be a resolution worth sharing.

"Dare I say since 1995 at least a million people have participated with The Story Box," said Kevin Cordi. He is the 1st ever Academic-Storyteller in Residence at the Ohio State University's Multicultural Center. He has taken up the charge to share how stories can be used to help address issues such as diversity, leadership, transformation, and community.

Background and Current Endeavor
Cordi founded The Story Box Project in 1995 and its popularity inspired another launch beginning January 15, 2009 through June 2009. While working in partnership with the Multicultural Center, Cordi is spearheading a movement to continue to share Story Boxes around the world.

Cordi expressed that one time he attended a Story Box event with more than 800 people. At other times, a Story Box was shared with a more intimate group of five, ten, or twenty people. The numbers have grown, mostly due to how global this project has become.

At first it was going to be limited to the Ohio area. Then friends of Cordi asked, "Why can't I do it?"

Enough people approached Cordi that currently over 40 organizations and centers in and around Columbus, Ohio (see list at end of post) along with other locations including Singapore and Nicaragua will participate.

This six-month effort will culminate with a storytelling festival on June 3rd and 4th 2009 featuring community and university Story Box ambassadors selecting stories to share from their Story Boxes. During the year, noted storytellers Eth-Noh-Tec, Olga Loya, Onawumi Jean Moss, and Dovie Thomason as well as Cordi will present two-day residencies for the community and university to model story giving.

In June, each location's Story Box will be shipped around the world, traveling to a new place every three weeks, and finally returning one year later to Columbus.

Stories from The Story Box Journey
Sometimes The Story Box has its own story with the mailing itself. The box never reached past customs in China because they could not tell what was in it.

Another time a small school in India received the box. It was supposed to stay for three weeks. Seven months later, the box was still there and two people volunteered to travel to India to ensure its safe return.

Cordi laughed, "I never know how quick The Story Box will travel."

Since The Story Box could be sent anywhere in the world, some people may take an hour or two to translate your story. Cordi confirmed, "And people have done this." One of his fellow PhD classmates, Camille Cushman, is traveling to Nicaragua. She will take a video tape recorder and audio recorder to transcribe stories.

Cushman is the same person who recently worked with the famous Patch Adams, now known to some people through the movie that featured Robin Williams. Cushman has already created narratives for The Story Box using humor and puppetry with those who have little time left in hospitals and clinics.

Cordi added, "Some people have put in the original story or the original script and it is probably the only copy." The story would not be heard unless it was in The Story Box.

Though any kind of story could be placed in the box, the theme for 2009 is for stories to discuss peace or conflict resolution. Each Story Box will carry a message of peace along with countless stories that are real or imaginary.

A woman in New Mexico had The Story Box and the day she was going to ship it, she met the Dalai Lama and blew him a kiss. He blew a kiss back. When she told Cordi about her experience, he responded, "You should add that to The Story Box."

She gasped, "I didn't think I could."

Types of Story Contributions
Cordi has had other people wonder what would be considered "appropriate" to put in The Story Box.

The Story Box defines story as any means to share narrative. Past contributions have included: DVDs, photographic images, small paintings, posters, MP3s, fiction and non-fiction. "I consider this global publishing. Not only will hundreds and thousands of others read, listen, or view their work, but the Story Ambassadors will encourage others to share this work in an organized way," Cordi stated.

Cordi admitted that when he created The Story Box, he expected print stories. "People surprised me by putting in chapter books, newspapers about Walla Walla, WA, a beautiful handmade fabric from India, and CDs and DVDs of professional storytellers."

These items have found a home in The Story Box as much as any print stories.

Internet vs. Physical Box
Though the Internet allows for a digital box, Cordi encouraged that people host an actual physical box. He expounded, "I want a physical feeling of receiving story, something I can hold in my hand or listen on a CD, so they know that value of really being touched by story. It's an emotional experience when you hold stories in your hand or listen to them."

Cordi saw the Internet more as a way to spread the word about the project rather than becoming the project. He reiterated, "On the Internet you get lost. I think it's a wonderful tool, but the old-fashioned way of sending something to someone says so much more." Cordi continued, "People say we don't write letters anymore, but we know what it feels to get one."

He compared The Story Box experience to when a child waits by the mailbox for that birthday gift from his favorite aunt. The mailbox suddenly becomes the giver of gifts. The wait could be unbearable, though eventually the boy howls with delight and all is worth it. Perhaps the mystery that the mailbox grants is better than sneak peaking in the closet for presents.

The Hunger for Stories
There is a certain hunger for stories and the mysteries each one may hold.

"Someone once told me they were story-starved." This prompted Cordi to reflect on his own life. "When I was 18, I was starved."

At 18, he discovered tapes of professional storytellers like Jay O'Callahan and Elizabeth Ellis and he could feel a little more satisfied, but this only increased his craving for stories. Many people around the nation witnessed as Cordi went on a crusade.

He urged, "We need to feed people stories so they know who they are. We need to value each others' words." Cordi added, "After 14 years as an educator, I don't want to see people starve for something with little or no expense." He upheld that The Story Box Project, and in particular the stories created and shared as a result, could feed others when they need to be nourished.

How Can I Help?
Cordi is enlisting "Story Ambassadors". Story Ambassadors will collect stories and serve as hosts for the "Drop-Off" location for The Story Box Project. Story Ambassadors will also send their Story Boxes to the Ohio State University Multicultural Center (MCC) in June 2009 so that they can be part of the global launch.

Individuals can host a Story Box by sending an email to Kevin Cordi at kcteller@sbcglobal.net or calling (614) 272-6153.

People can find out more about The Story Box Project at http://kevincordi.com/storybox.html. A digital story detailing The Story Box can also be found on Kevin's website at http://kevincordi.com/storybox-av.html where educators, community members, librarians, and school personnel have shared their own stories.

In the month of May each Story Box location will swap with another location to celebrate the new stories. Throughout the year, the MCC will present internationally known storytellers in free public performances and workshops. Details are on the MCC's site at http://multiculturalcenter.osu.edu.

People can send a physical copy of a story (or many stories) or by email to kcteller@sbcglobal.net to be placed in one of the boxes. People may photocopy stories, but the originals must remain in the box. Imagine such a treasure from all over the country arriving in your city or country to share.

After the storytelling festival in June, The Story Boxes will travel around the world, including Northern Ireland, Singapore, Nicaragua, and Japan. The Story Boxes will return one year later and the celebration will begin again.

The following organizations are committed Story Box Drop-Off Sites. A full list with contacts will be available on the MCC's site by January 15, 2009.
  • VoiceCorps
  • Columbus City Schools
  • Bexley City School District
  • The Multicultural Center at the Ohio State University
  • St. Matthias School
  • Office of Minority Affairs of the Ohio State University
  • Dublin Scioto High School
  • St. Mathews School
  • "Step Back from the Baggage Claim" Organization
  • Yellow Springs, Ohio (various places and organizations)
  • Communities/Schools in Singapore
  • Ohio State University Folklore Department
  • Columbus State College Student Ambassador Program
  • Southern Ohio Central Storytellers
  • Undergraduate Student Academic Service Administration & Academic Advising
  • Columbus Area Writing Project
  • Herbert Mills School
  • Fairmont College, West Virginia
  • Columbus State International Student Association
  • Collected stories from Nicaragua, via OSU Student
  • Ohio State University College of Teaching and Learning, The Martha King Center
  • Kerouac Kafe
  • Avery Elementary School
  • Mont Vernon Middle School
  • United Church of Christ
  • Ohio State University Residence Halls
  • Community Work in Middleport, Ohio
  • Saint Pius Catholic School
  • Brown Mackie College in Cincinnati
  • The Athletic Club of Columbus
  • Hickory Ridge Elementary School
  • Medical Care Facilities in Columbus
  • The Ohioanna Library
  • Saint Andrews Catholic School
  • The Center for Teaching and Writing, Ohio State University
  • Orient Correctional Facility
  • Princeville Grade School, Illinois
  • Hinds Feet Farm, North Carolina

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
Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller
Posted by Professional Storyteller Rachel Hedman at 12:50 PM 0 comments
Labels: , , , , , ,
Subscribe to: Posts (Atom)