Diversity in Storytelling: Bridge still to be Built

Storyteller Jon Spelman stated, "A lot of people do not get a chance to be heard or to tell their story." While presenting at the 2007 East Tennessee State University Storytelling Institutes, he urged us to be willing to listen to others and to build bridges with other groups.

The Bridge
Sometimes a rushing river of misunderstanding and fear divides racial, social, and religious groups so that nothing can be heard except for shouting stories of anger from one side of the shore to the other side of the shore. Rather than raising our voices with threats and hatred from the places we stand, we could build bridges through the stories we share so that we could meet halfway, look into each other's eyes, observe views on both sides of the river, and finally return home with a new perspective.

We may still hold the same views as when we first stood on the shores without a bridge, though this time we would remember that for every issue or thought there are people, neighbors, and friends involved. You can love people and still disagree with their views.

Perhaps you will hear my story and how being part of a minority group:
1. Influences Current Repertoire
2. Contributes to Repertoire Development
3. Determines Goals for Future Public Performances

As you read my answers, please reflect how these relate to your life and feel free to share them with me.

Background
The following thoughts come at a time when I have been attacked verbally for who I am. My experience is extremely mild compared to what many of my friends have experienced in California where death threats and vandalism is rampant.

What minority group is victim to these hate crimes? Those who belong to The Church of Jesus Christ of Latter-day Saints also nicknamed Mormons or LDS.

Persecution is not new to those who are LDS. We have been driven from New York to Ohio to Missouri to Illinois and finally to Utah in 1847. The last few decades have been relatively peaceful as the LDS faith has become a worldwide religion with over 13 million and growing members and has contributed much in the way of humanitarian causes from the 2004 Tsunami in Indonesia to dozens of hurricane rescue efforts in the United States including Hurricane Katrina to donating over 100,000 wheelchairs to developing nations to shipping 142,000 pounds of medical supplies to Myanmar and countless others.

Though the United States is a land known for freedom of religion, unfortunately this does not prevent hate crimes or people who are unwilling to listen so to understand.

I may have more boldness in my personality than those who find themselves as part of the majority. I was one out of a handful of LDS youth who attended my Wisconsin high school that consisted of over 2,000 students.

Ever since living in Utah where over 69% are LDS, it is strange to be considered part of the majority when most of my life I have been part of the minority. I do not have to explain or defend myself as much except for my online involvement as then I am conversing with people around the world.

I have been asked random questions, sometimes sincere and sometimes mocking, from middle school years to the present like "Do you have horns on your head?" or "Are you forbidden to dance?" or "How many husbands do you have?" The answers: No, No, and One.

Influences Current Repertoire
As a storyteller, I see my role as building the bridge of understanding so that others may see the other side of the shore if they so choose to listen to my stories.

Interestingly, the stories that would add most to building that bridge cannot be shared at one of the storyteller's traditional venues: public schools. Mentioning religion, particularly Christianity, seems taboo these days. This fact encourages me to approach other educational settings such as universities, libraries, and museums that are more tolerant. Diversity is often celebrated at these places.

Even among these more open venues, I am in a constant debate if some of my stories would be appropriate or welcome. One of my signature tales, "Shattered Grapes in One Row Too Many" (can be heard on left side of this blog), does not mention the LDS Church specifically though I do have lines like "It was announced over the pulpit one Sunday that volunteers were needed to help harvest the grapes in the vineyard. These grapes would be dried into over 250 tons of raisins to be shipped around the world for humanitarian causes."

Besides lines that reference my background, I merge many personal and original tales with portions of LDS hymns. Those who happen to be LDS in the audience will recognize them. Usually the hymns introduce comedy to the scene as in my story "Ere I Left" when, as a middle schooler who delivers newspapers, I encounter "the dog" and a song comes to mind that starts, "Ere you left your room this morning did you think to pray?"

At times songs mixed with stroies express views on the profound such as how to deal with the death of a loved one like when my cousin two years my senior died on my birthday while away from family at Girls' Camp. Two hymns "If You Could Hie To Kolob" (traditional or rock version found) and "How Great Thou Art" were sung with the other girls at camp in an attempt to comfort my grief.

Contributes to Repertoire Development
Two years so far I have performed at the Scandinavian Heritage Festival in Ephraim, UT. Perhaps a LDS connection would seem strange until one realizes that most of Ephraim's settlers were Scandinavian LDS pioneers. To fill four 30-minute slots of no-repeat stories, I needed to know at least three hours of folktales. Ever since this repertoire development most of my story sets, outside of this festival, include at least one Scandinavian tale due to the number of stories I know from this culture.

Then in 2006 the Cultural Arts department of The Church of Jesus Christ of Latter-day Saints sent out a call for theatre, music, and visual art submissions that reflect different aspects of the church. Though storytelling was not a category listed, I determined this was a chance to introduce another art. You could say that storytelling is a minority art form.

The theatre category seemed best to pursue and rather than submitting a solo piece, I approached two other LDS storytellers, Suzanne Hudson and David Bullock, as well as two youth tellers to combine for the "Growing up Mormon" storytelling program. Part of the inspiration came from storyteller Ed Stivender as he is known for "Raised Catholic (Can You Tell?)", though he is not alone in creating those kinds of programs. Catholics, Methodists, Jews, and many other religions already have storytelling programs that express their lifestyles; people of all faiths enjoy these stories.

Though we did not become finalists with the "Growing up Mormon" program, it did open thoughts as to how my LDS background may become a more prevalent part to which I am known for in the storytelling world.

Many storytellers tell stories based on the Bible. As LDS storytellers also believe in the Bible, then these stories are possible to add to the repertoire. However, I am unaware of any stories based on the Book of Mormon that is out on the public storytelling circuit. Perhaps part of the reason is that whether or not someone is Christian, most people are aware of certain Bible stories about Noah, Moses, David and Goliath, and others. Yet, if someone is not LDS, then most likely the Book of Mormon stories with Nephi, Lehi, Ammon, and Alma the Younger are completely new. This may affect comedic, tragic, or dramatic moments if the audience receives the stories out of context.

A good storyteller could develop the stories so there would be understanding for the audience regardless of how much they know about the LDS faith.

At the annual 2006 Utah Storytelling Guild StoryFest, there was a discussion on why more LDS-related stories were not shared. It was not because there was a lack of time to develop the pieces nor in finding the venues. The most common answer: fear. More specifically: fear of sounding preachy; fear of how to delicately approach the stories in a respectful manner; fear of being blacklisted as a teller. No one voiced the following fear though I expect it was at the back of many minds: fear of being persecuted.

Other tellers who tell stories from other religious backgrounds may have these same fears, though they are strong enough to pursue the stage and letting the stories be heard.

Everyone at that StoryFest meeting agreed that more stories, that reflected our way of living, needed to be shared. Since that discussion I have not seen any results. There are many LDS storytellers inside and outside of Utah. In addition, the Timpanogos Storytelling Festival, one of the most successful and largest storytelling events in the United States, is predominately organized and attended by LDS people. We are not as scarce as some people think in the storytelling community. We only tend remain quiet when there is the chance to accidentally offend others or cause people to be uncomfortable. . .except when a driving force moves us forward.

Determines Goals for Future Public Performances
So what motivates us enough to step onto the stage and share our stories? What motivates you?

In times of fear or uncertainty, I turn to others for support. My husband is my greatest support while I also have my mother, father, brother and sister to cheer me on. I even conducted a one-question survey with fellow East Tennessee State University classmates if they would like to hear stories that connect with the Book of Mormon or everyday living of a Latter-day Saint. The people I approached seemed eager to hear some of these types of stories though I did not feel ready to share any at that time. There was curiosity and the possibility of having more diversity on the stage.

Storyteller David Novak advised me that rather than have programs that focus purely on LDS stories, that it may be smoother to find stories from other cultures that incorporate our values mixed with one or two that are LDS.

This may have guided me in the structure of a narrative production that I will premiere on February 9, 2009 called "Family Famine: Hunger for Love". Though I expect portions of LDS songs may be included in the program as that is part of my style, the focus will be on multicultural tales outside of my tradition. Healthy family relationships can be found in all cultures. A country in chaos sometimes is thought to not have the same levels of love amongst family members. Usually the corruption lies mainly with leadership of the land rather than what is found in the home.

Throughout story development, I will contemplate upon "The Family: A Proclamation to the World", a document presented by the LDS Church in 1995. It is my source of inspiration for "Family Famine: Hunger for Love" and not something I plan to quote or distribute to those who attend the premiere or any future performances. That would be overbearing, inappropriate and harmful to me as a teller and would abuse storytelling as an art form.

Storyteller Elizabeth Ellis warns of the difference between being religious and being spiritual. Any storytelling experience could be a spiritual experience no matter what faith is mentioned, if at all. Sometimes values expressed in everyday tales provide communion.

I hope to create a safe environment for my audience so they can trust that I will not push my views from the stage and that I allow them to take what they will from the performance. In fact, I expect the "Family Famine: Hunger for Love" to be such a program that even public schools would see no issues in having it presented to their students.

My LDS background will always influence, create, and develop repertoire that will reach the stage. The goal is that I will become fearless in presenting the stories that few have heard while creating a safe environment so that people realize that I love and respect all cultures and traditions.

Perhaps one day a LDS program will be as common as the other religion-based storytelling programs out there.

May we build the bridges from one group to another and be willing to step across the rushing river of misunderstanding and fear so to see from both sides.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair and Current Member 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

National Storytelling Network as Matchmaker

"Matchmaker, Matchmaker, Make me a match, Find me a find, Catch me a catch."

When Tzeitel, Hodel, and Chava sang about Yente the Matchmaker on Fiddler on the Roof, perhaps we have sung such tunes on business and social levels as storytellers or storytelling organizations. The National Storytelling Network could be the Yente of our time.

Two different Brain Trust Sessions at the 2008 National Storytelling Conference in Gatlinburg, Tennessee alleged to the idea of the National Storytelling Network in this connecting role, though not much time was spent to look at the possibilities.

National Storytelling Network as Matchmaker could:
1. Introduce Storytellers to Storytellers/Performing Artists
2. Seek Suitable Sponsors for Storytellers
3. Connect Storytellers to Organizations
4. Encourage Organizations to Partner with Organizations
5. Uphold Storytelling as Desired Art to General Public

Sometimes fate needs an extra push for like-minded storytellers, sponsors, organizations and people to come together and edify each other's goals and visions for the art form.

Before discussing the ideas, meet my own matchmaker:
I met my husband, Casey, through Mandy. . .and because of the airport (see picture).

While sharing a Communications Law class at Brigham Young University, Mandy and I talked about our projects. . .as well as our plans on going home for Christmas. As my family lived in Wisconsin and her home was in Pennsylvania, we were surprised that the first part of our flights to fly home was the same!

"Great!" we shouted. "Let's ride to the airport together!"

We both said that hoping that the other person had a car. No such luck. So we made ourselves a deal--whoever found a ride to the airport first would let the other person know so we could travel to the Salt Lake City airport.

After about a week, I received a call from Mandy. "I found us a ride," she said.

The driver lived in the same apartment complex as Mandy on the opposite side of campus as me. I went to the place to meet for the ride.

One other guy needed to go to the airport. He sat in the back seat. Mandy had the "hots" for him and strategically placed herself in the back. The front passenger seat was open so that is where I sat. Of course, front people talk to front people and back people talk to back people.

I had a wonderful conversation with the driver.

I arrived at the airport, flew to Wisconsin, had a wonderful Christmas, and then returned to BYU. About a week into the new semester I received a phone call from Mandy. She asked if I remembered the driver.

"He called me," Mandy said. "And he wanted your phone number. So I was wondering if it was okay to give it out."

Apparently Mandy had played Matchmaker before and things didn't turn out so well.

I replied, "Sure!" and hung up the phone laughing and laughing. Well, I did get that call from the driver--Casey--and now we've been married since May 19, 2001.

By the way, when Casey and I became engaged and went to the Salt Lake City airport to fly to Lake Havasu in Arizona to celebrate with Casey's family, who should be at the airport waiting for her own plane but Mandy! The picture above is of that moment. That is how she learned her matchmaking was a success.

Now on to the ideas--

Introduce Storytellers to Storytellers/Performing Artists
There have been attempts to have a mentorship program. Sometimes names are gathered though the lists seem to disappear or at least are not as visible as expected. With all the technology tools available, we could transform these written lists and ideas into audio and video files that people could play to understand the hopes of potential mentors and those who wish to be mentored.

The written word only captures so much about an individual. Hearing or seeing how someone is like has greater chance for success. All of the audio/video files could be found on one website. When the mentorship is decided, then the matches could also be displayed online.

Even if someone is not looking for a mentor, there is always searching for a friend. When like-minded individuals find each other, then grand endeavors come to pass.

In the meantime, Eric Wolf's The Art of Storytelling with Children podcast introduces us to storytellers almost on a weekly basis.

Seek Suitable Sponsors for Storytellers
A professional storyteller wears many hats. Storyteller Elizabeth Ellis views the three main areas as artist, craftsman, and businessman. It is the business and marketing sides that many people avoid, though it is this same area that builds relationships with past, present, and future sponsors for performances.

Most of the marketing effort would still need to rest on the storyteller, though NSN could nurture opportunities.

When Finn Bille at one of the Brain Trust Sessions mentioned this idea, the facilitator David Novak asked if a type of switchboard operator would be needed to take the calls and direct them to where needed. Bille responded that he imagined a system with "excellent data easily available on the Internet and backed up by personal contact that could guide aspiring professionals or those semi-starting out."

The switchboard image may not be feasible at the moment due to NSN having two full-time staff members while such a venture would need many more people. Yet, Bille encouraged us to look at the practices of writers' guilds as queries are accepted and then passed on to appropriate publishers. In many ways, the publisher is equivalent to the sponsor/producer for the storyteller.

At one time it was proposed for event producers to come to the National Storytelling Conference as a way to observe tellers. Even the 2008 National Storytelling Conference had the Southeast State Showcases (eight states/concerts) scheduled throughout the event as well as the Regional Concert (one person from each of seven regions across the United States). Though there will not be a conference in 2009, there will be one in 2010 and every year after that time.

Perhaps, when these showcases are organized again, the slots could be given by lottery with entries being charged a certain amount to participate as is done for other performing artist showcases. Finally, there would need to be some kind of verbal, preferably written, agreements from various event producers to attend one or more of these showcases. An incentive for the producers could be for the first 25 to sign-up for registration to receive 50% off registration. Part of the application would need a place to list any event(s) or organization(s) they are representing in the name of scouting out tellers.

Usually the reason a storyteller makes it on the festival circuit is when seen with an audience with a sponsor being among that audience. These showcases could make it possible to have a Booking Conference aspect within the National Storytelling Conference.

Connect Storytellers to Organizations
Whether or not a storytelling guild or organization is affiliated with the National Storytelling Network, a database of these pro-storytelling groups would prove beneficial for NSN to share with others. Such a database may inspire more of these groups to be connected with NSN, particularly those ones that may not see storytelling as their main objective.

Every organization has a history to share with others. Turnover of board members and leaders--as terms begin and end--are not the only ones who would like to know past accomplishments, present feats, and future endeavors.

As I considered how to create the Youth, Educators, and Storytellers Alliance ethnography, I called Eric Wolf on the possibility and the usefulness of recording interviews between former and current co-chairs on a conference call system similar to what Wolf uses for The Art of Storytelling with Children podcast. Wolf noted the increased quality of sound if the people could gather at a physical location. However, people have an easier time locating a telephone than in locating the funds to fly across the nation to an event.

Despite this difficulty, three events would be most likely for YES! co-chairs: National Storytelling Festival, National Storytelling Conference, and the National Youth Storytelling Showcase.

Once the best methods is determined, then the audio and/or video versions of the interviews could be made available online for any leaders, members, or general public who wish to know more about an organization.

Encourage Organizations to Partner with Organizations
Storytelling guilds and organizations at similar phases in growth or with overlapping goals need to know about each other and combine efforts. Individuals need individuals and organizations need organizations.

The National Storytelling Network could be the liaison between the organizations.

Rather than assuming we know what training, guidance, or help each organization would like, NSN volunteers could survey guilds and other storytelling organizations on their needs. The storyteller often needs to know the audience in order to tell the "right story at the right time" and so it stands for organizations.

With the surveys completed, the database could reveal to NSN what guilds and groups need to build relationships. A 20-person-sized guild in Montana could be introduced to a 20-person-sized guild in New Hampshire and so on. On an international scale, many cities have sister cities. Could not the same concept be applied? Perhaps the guilds would link each other's websites and let their members become aware of the "sister" friendship. Thus, the "Network" in the National Storytelling Network name would be fulfilled.

It would not be enough for NSN to make introductions and then leave the picture. NSN could follow-up on the friendships and see how often these guilds are communicating with each other.

Uphold Storytelling as Desired Art to General Public
The Oral Tradition Journal made their publications available online for free, which Tim Ereneta announced on his "Breaking the Eggs: Performance Storytelling in the 21st Century" blog. He challenged the Storytelling, Self, and Society Journal to do the same thing. He talked with the National Storytelling Network on the possibility to attempt such a feat with the Storytelling Magazine.

I support Ereneta's ideas though I would recommend that all issues except for the current year be made available, as these publications are membership benefits for the Storytelling in Higher Education and the National Storytelling Network. Most people renew membership once a year. Then we have a balance between availability and exclusivity.

Though why stop at the written way? As there are books on tape, the same concept could be used for any storytelling books and publications. These could be read and recorded by the authors, one specific person, or someone who has experience with voice-overs.

Matchmakers use the tools available to promote coupling. As from the ideas shared above, technology is the grandest and, interestingly, the least costly of any other choices.

However, time is needed for the technology to produce desired results. As with any enduring relationship, time is something the matchmaker cannot control.

Rather than simply sharing ideas, now is the call for those who want to see them transform into reality.

Who is willing to give the time to make these relationships work?

Until we tell again,

Rachel Hedman

Professional Storyteller

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

Mythical Storytelling Network: Dreams of Reality

Thanks to David Novak who guided the Brain Trust Session at the 2008 National Storytelling Conference and gave his blessing for the ideas to be shared as well as the picture posted. More appreciations go to Teresa Clark and Mary Hamilton for permission to share comments as well as to all who attended the session on August 9, 2008 (see names and contact info at bottom).

Our dream ideas as storytellers to further the art in the minds of the general public are often hindered by our working within the boundaries--whether drawn by us or others. We look at current situations and censor ideas purely from what we think is true or unchangeable. Sometimes people dare to see something more.

Then came newfangled Brain Trust Sessions at the 2008 National Storytelling Conference.

One session in particular broadened my mind to think of possibilities I may never have discovered otherwise. With Brain Trust facilitator/National Storyteller David Novak as well as some conference attendees, the premise was given:
1. The answer "No" did not exist
2. The answer "Yes" was always followed by "If"

To better train our minds to say "yes" more often than to say "no", Novak had us pretend that the National Storytelling Network did not exist. How would we function as individual storytellers without it? What might be an obstacle to our imaginations, especially for our vision for the art itself?

Perhaps the creation of the National Storytelling Network (known as NAPPS--National Association for the Perpetuation and Preservation of Storytelling in its infant years) was so rushed to meet the needs of the growing number of members while overlooking the needs of professional storytellers that the full impact--or rather the potential impact--was not thought out in detail.

The whole American Storytelling Movement could be seen with an "accidental" 1973 grassroots kick-starting with the National Storytelling Festival. The phenomenal growth through the decades was partly to more people identifying themselves as storytellers, with some going so far as to picture careers as performing artist entrepreneurs and organizations such as the National Storytelling Network (NSN). Traditional storytelling, such as found on the front porch or around the kitchen table, made way for more of the platform/organized storytelling that is most visible upon the stage at a storytelling event in the creation of guilds and associations.

One by one Novak asked questions of the people around the table at the Brain Trust session to find out individual aspirations. We discovered certain collective dreams that, despite the "nonexistence" of NSN for this exercise, we still needed to create what we lovingly deemed as the Mythical Storytelling Network. Our ideas did not need to fit within any prescribed budget nor be doable with a certain number of staff or volunteers. If ever we came upon roadblocks, we would think around them.

For example, Novak asked what would we do if we wanted to tell stories on the moon. I responded that we would need a sponsorship/commission from NASA. Money or manpower was not the issue. The impossible suddenly became possible.

With our minds open, we were ready to pursue any dream we had for the art of storytelling.

Though much was shared in our group, this idea most excited me: Artist roster of professional storytellers so to approach the National Endowment of the Arts that our art is to be respected and honored.

Some Background--
Storytelling is a category yet to be created for the National Endowment of the Arts (NEA). When applying for a grant, most tellers either have to decide to apply as a folk artist or as a theatre artist.

During the late 1980s, Mary Hamilton applied as a theatre artist for the Ohio Arts Education Roster in connection with NEA as out-of-state requests were honored. Hamilton commented, "The folks at the state arts council assured me that they took storytellers and would assign my work to the appropriate category - theatre or folk arts." Her lack in theatrical training meant the council connected her with the folk artist category instead.

Upon following this advice, she found herself interviewed by a clogger, a chair maker, a basket weaver and other similar arts. They asked, "Where have you learned your craft?" The folk artists expected an answer like "from my mother" or "from my grandfather". Instead, Hamilton replied that she learned storytelling from workshops led by storytellers. She was denied funds.

Hamilton reflected to the time when the National Storytelling Conference was held in Philadelphia and a man from the National Endowment of the Arts addressed the attendees. In this man's eyes, storytellers were folk artists and encouraged storytellers to apply for grants in that category. He did not realize that some storytellers could not fit in that category depending on individual art council interpretations. Hamilton expressed, "Part is educating--not all storytellers are folk artists. . .or theatre artists."

Luckily Hamilton lives in Kentucky where being a good storyteller is enough to be on the roster of the art council. This allows her more chances to receive support from the NEA.

Other state art councils have education and/or touring rosters for performing artists. Many storytellers are already listed with these and sharing a list of such tellers makes it possible to approach the NEA on establishing a storytelling category.

Transforming Dreams into Reality--
This is the time when feet do the thinking so there is action behind the words.

The Brain Trust Sesssion guided by David Novak had the NEA project surface and everything could have stopped at this point. Mary Hamilton and Teresa Clark both admited that several committees and conversations had been dedicated to the topic. When NSN created a strategic plan around the beginning of 2006, approaching the NEA on having a storytelling category was on the "wish list".

The overwhelming idea of collecting a roster that the storytelling community could agree on may have been one of many obstacles. Suddenly, by going to this Brain Trust Session, Clark understood that we did not have to re-invent the wheel and create our own roster indepedent of any other. We could connect with the rosters already juried and maintained by art councils across the nation.

With such a project underway, it would benefit storytellers to be a member of the National Storytelling Network as the organization's name would build recognition eventually among NEA associates. You could see it as a storytelling Chamber of Commerce in the way we support each other to make great things possible.

Clark approached her fellow NSN Board members after the 2008 National Storytelling Conference and the Arts Recognition Task Force (or ART Force) was approved. Currently Clark and Hamilton are members of this growing group.

With time, I would not be surprised to eventually see a NSN Board Member come from the National Endowment of the Arts to complete the acknowledgement that storytelling is an art to be honored.

You want to be part of the ART Force?--
Contact Teresa Clark at teresaclarktells@hotmail.com or at (208) 529-3276.

Say "yes" to your dreams and see where it takes you.

It seems that the Mythical Storytelling Network really does exist--deep within the heart of the current National Storytelling Network.

About the Brain Trust Group:
Facilitator:
David Novak is is a remarkable speaker with a background in theatre arts including Shakespeare, clowning, creative dramatics, playwriting, and directing. Mr. Novak recently received the 2002 Circle of Excellence award from the National Storytelling Network, for excellence in the art of storytelling. He is a veteran of the National Storytelling Festival, cofounder of the innovative National Yakkers Theatre Ensemble, and creator of The Storyteller's Compass, a new method of "narrative wayfinding."

Key Contributers:
Teresa Clark has a unique blend of history, wit, personal glimpses, and fantasy create stories that are a delight to hear and impossible to forget. Best known for her original works and recollections of life's experiences blended with history, Teresa entertains and educates wherever she goes as she shares her passion for storytelling. She currently serves on the Board of National Storytelling Network (NSN) as the Western Region Director.

Mary Hamilton counts herself among the many dedicated members of the National Storytelling Network. She has helped found two storytelling swap groups of Tale Talk, when she lived in Louisville, and Frankfort Area Storytelling Gatherings since her 1994 move to Frankfort, Kentucky. Beginning in April 2004 she has served as one of the founding board members of the Kentucky Storytelling Association.

Other Mighty Minds:
Finn Bille

Katie Key (in connection with Free Arts NYC)

Tim Lowry

Sherry Norfolk

Graham Shelby

Kimberly Sheperd (in connection with Rhythm Soled)

***FYI on the Attendees of the Brain Trust Session: Three of us were from the 18-30-year-old age group with a couple members of the National Storytelling Network Board as well as former NSN Board Members and key players to the structure of the organization.

Until we tell again,

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