"Year of the Adopted Family" book release
Showing posts with label creativity. Show all posts
Showing posts with label creativity. Show all posts

Friday, October 15, 2010

That Fairy Tale called Childhood, Mr. Glodowski, and Lifelong Learning


When our eyes glaze over and a goofy grin appears on our face, we might have entered that fairy tale called childhood.

Nothing could go wrong...or at least not for long...as memories conjure images of learning how to bike ride and then traveling farther than told to go, hanging around the basketball court and wondering when it would be your turn to shoot the ball, playing a night game of hide-and-go-seek and on and on.

Sparkles and rainbows often accompany the reflections as if anything we touched in those times were full of magic.

Then came the stormy fortress and villains within our life story. A few of us may have called this place "school".

Creativity was set aside so we could learn what all parents wanted their children to know: reading, writing, and arithmetic.

This scholastic kingdom divided its subjects into castes that could not invade another. Tall fences and barricades prevented Social Studies from invading Math and inhibited Science from merging with English.

Fortunately, I had a 5th grade science teacher named Mr. Glodowski.

He was a balding man with a few flicks of hair that gave his head a soft look when the light slipped through the large classroom blinds. His glasses were geometric in nature and magnified his eyes so that he could see what anyone was doing at any one time...like when I wrote stories while he taught.

I slipped my writing notebook under my science notebook when I felt a glance my way. But it was too late. I was caught. I could tell by the way Mr. Glodowski prolonged his gaze in my direction.

Instead of calling my name in front of the class at that time, he walked to my desk when the bell rang.

While stuffing my backpack, I kept my head down as if to thwart any lecture of my creative writing during his class.

Then I heard it.

"Rachel?"

Mr. Glodowski's tone had an edge of amusement to it. I was not expecting that.

"Y-y-yes?"

Mr. Glodowski's eyes sparkled and he continued, "I could not help but notice that you are a writer."

"Y-y-yes?"

"Could I take a look at your work?"

I hadn't shown anyone my writing notebook before. Not even in English class. But when you're caught, you're caught. I lifted the bright pink notebook by one edge so that the other half drooped.

Mr. Glodowski carefully took the notebook into his hands and delicately read page after page.

"Hmmm." And then another, "Hmmm."

He looked at me.

"What if I had a special spot in my file cabinet for your writing? You could add your stories. I expect the folder to be thick with your stories."

I scrunched my face in surprise. "Yes, but, Mr. Glodowski, you're a Science teacher. What does writing have to do with Science?"

"Pffaw! Since when is Science Science and English English. So will you continue writing or not?"

A few moments of silence until out of my mouth, "Sure, Mr. Glodowski. Sure."

And so it happened. Story was part of my Science classroom.

I paid attention to what Mr. Glodowski taught. I noticed that he used more and more stories from past and present Science experiments of failures and successes. Sometimes folklore mixed with his lessons.

One time, while studying the constellations, he announced, "I want each of you to create a constellation out of a current star chart."

While addressing the whole class, he smiled at me and said, "I want each of you to write a story behind that constellation. Be creative as you like for, after all, this is a Science class. Science encompasses the world, and the world is full of stories."

That day I knew: storytelling was the action form of learning.

Storytelling still is the key to lifelong learning.

Then it happened one day.

I had a new story to place into Mr. Glodowski's file box. It was about time travel to dinosaur days through the pop of a bubble.

When I looked for Mr. Glodowski, all I found was an empty desk.

One of my classmates walked to me with serious expression on his face.

"I heard Mr. Glodowski died of a heart attack last night. We're getting a substitute."

I scanned the room as if I could find Mr. Glodowski shake his head at such nonsense.

But it was true.

The viewing and funeral was scheduled. I brought my Mom.

We got in line to share our condolences to the Glodowski family.

For the first time, I met Mr. Glodowski's wife. I had no idea what to tell her. Nothing seemed like the right words. I had to say something though.

So I told her about the file cabinet and how he inspired me to write.

She smiled through her tears. She thanked me and took my hand in hers.

When the school yearbooks were distributed at the end of my 5th grade year, I saw that I was not the only one who Mr. Glodowski inspired to write.

One of my classmates, Ka Xiong, had written a poem in his honor.

Here is a part of Ka's poem:
Pencils are wood, A square has an angle.
There I stood, Looking at you as if you were an angel.

Mr. Glodowski's stories are part of my being as they are for others he taught.

All stories become part of our being.

That fairy tale called childhood does not have to end.

Teachers and students alike could take part in a collaborative story that builds and grows with each passing day in the classroom.

As we graduate, that time with story continues in our minds until we achieve what our teachers had wanted to instill in us: lifelong learning.

So go forth and tell, and we will listen.

Every story adds to our education.

Until we tell again,

Rachel Hedman
info@rachelhedman.com
(801) 870-5799

About the Author:
Rachel Hedman is a family folklore expert and youth storytelling advocate who had several teachers like Mr. Gladowski who inspired the creative spirit she has today. She promotes positive communication and relationships through the Family Famine Series, a story synergy experience with fellow storytellers, musicians, and other performing artists. Rachel will publish "Year of the Adopted Family: 12 folktales to place in your home and value the process today" in November 2010 as part of National Adoption Month.

Wednesday, September 01, 2010

Narrative Intelligence: 3 Ways to Stroll Memory Lane

Inspired by East Tennessee State University

Storytelling Masters Program

Much credit to Roger C. Schank

—Author of "Tell Me A Story: Narrative Intelligence"

as well as David Novak

—National Storyteller/ETSU Professor


Question: To what extent do you already know stories?

Answer: You know more stories than you think you do.

Activity:

  • List any stories that you could tell right now
  • List any stories that you could tell after one or two run-throughs
  • List any other stories that you know that would need two+ run-throughs

Wise Storyteller = right story at the right time and with many stories in the repertoire

Index Stories

We create indices/labels for stories so to tell stories effortlessly and unconsciously. You may also apply indexing to when interviewing others.

Index Construction & Understanding:

1. Match indices for story retrieval

Example: Creating themed storytelling performances

2. Add aspects of a new story to empty slots in an old one

Example: Love a story except for the ending

3. Seek further evidence for stories that were only tentatively held as having been correctly understood

Example: Feminist tales

Activity:

  • Take story from your repertoire and complete the right side of the table below--

Types of Indices

Story:

Theme/Topic

Goal/Intention

Plan to Reach Goal

Result/Ending

Lesson

Group Exercise:

  • Form circle or semi-circle as a group and pretend that there is a fire in the center.
  • One person says any word or phrase toward the imaginary fire. In no particular order, everyone can say what words come to mind. Some people may talk at the same time, which is fine because you are creating a bonfire of words. Whatever word was last heard is what a person connects to when tossing out a word. Try this activity with the eyes open and then with the eyes closed.

Shape Memories

The ability to remember an event/story increases with:

1. Immediacy of telling after event experienced/story learned

2. Frequency of telling

3. Uniqueness

4. Significance to you

The act of sharing a story with someone else creates its own memory. The more the story is shared, then the more memories connected to the story.

With every version of a story learned, your memory is changed. Every version blurs the details so it is easier to put your own spin to the story. You will have details that you cling to and you will have details that you drop. Finally, ask yourself “How is this story the story of my life?”

Example: Disney version of “The Little Mermaid” vs. H.C. Andersen version

Activity:

  • Tell a familiar tale backwards.
  • How has your viewpoint of the story changed

Understand and Share Stories

We may have stories that reflect different cultures but it does not mean we understand the stories completely. According to Schank’s book, if someone learned French and traveled to Paris, that person would struggle with the language. That person did not learn the life and speech genres such as the slang and proverbs so as to avoid embarrassing situations.

Insider Story Examples: personal tales, stories of your culture

Outsider Story Examples: multicultural tales, stories of another place or time

Activity:

  • Using your repertoire list, place an “I” next to your insider stories and an “O” next to your outsider stories.

Combinatorial--Questions to ask when feel like there is no story to tell:

1. What story do I know that relates to the incoming story?

2. Are there any events in my memory where I had a similar goal for a similar reason?

3. Do I have a story in memory where the main goal is the same as that being pursued in the story I am hearing?

Bibliography:
Schank, R. (1995). Tell Me A Story: Narrative and Intelligence. Evanston, IL: Northwestern University Press.
ISBN: 0810113139

Yashinsky, D. (2006). Suddenly They Heard Footsteps: Storytelling for the Twenty-first Century. Jackson, MS: University Press of Mississippi.
ISBN-10: 1578069270

Suggested Reading:
Bavles, D. & Orland, T. (2001). Art & Fear. Santa Cruz, CA: Image Continuum Press.
ISBN: 0961454733

Coles, R. (1990). The Call Of Stories: Teaching and The Moral Imagination. Boston: Mariner Books.
ISBN: 039552815
Lakoff, G. & Johnson, M. (2003). Metaphors We Live By. Chicago: University of Chicago Press.
ISBN: 0226468011

Rodenburg, P. (1993). The Need For Words: Voice and Text. New York City: Routledge.
ISBN: 0878300511

Rodenburg, P. (1993). The Right To Speak: Working With The Voice. New York City: Routledge.
ISBN: 0878300554

Sawyer, R. (1977). The Way of The Storyteller. London: Penguin.
ISBN: 0140044361

Simmons, A. (2002). The Story Factor: Inspiration, Influence and Persuasion Through The Art of Storytelling. New York City: Perseus Books Group.
ISBN: 0738206717

Smith, A. D. (2006). Letters to a Young Artist: Straight-up Advice on Making a Life in the Arts-For Actors, Performers, Writers, and Artists of Every Kind. New York City: Anchor.
ISBN-10: 1400032385

Zipes, J. (1995). Creative Storytelling; Building Community, Changing Lives. New York City: Routledge.
ISBN: 0415912725

Sunday, August 15, 2010

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

Sunday, August 01, 2010

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

Thursday, July 15, 2010

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

Saturday, May 15, 2010

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

Saturday, May 01, 2010

Mothering a Program: How to Give Birth to Story Success


Most mothers are ready for their baby to come when ten months or so have passed. They have swallowed hundreds of pre-natal pills, stuffed and filled drawers and closets with baby clothes, and packed the suitcase for that urgent ride to the hospital for delivery.

A storyteller could learn from mothers on how to care for the mental, physical and emotional needs.

Mental

For the Story—

A mother does not expect to become pregnant and then deliver the baby the next day. She likely made a lot of to-do lists. Repainting a room for the nursery is probably a priority.

The story needs to be outlined in a way that works for the tellers. Some people prefer the visual way by storyboarding. Whether drawing stick figures or intensely detailed images, these series of pictures could bring order to a complex plot.

I enjoy using French Scenes of which the environment, character feelings, and progression of the plot are explored for each part of the story. I ponder upon the Hero’s Journey structure as shared by Joseph Campbell. The hero’s beginning, call to adventures, road of trials, and the ultimate boon can be adapted to most types of stories.

For You—

A mother dreams what that moment will be like to hold the new precious one in her arms.

Storytellers can also dream of the perfect performance. Storyteller Carol Esterreicher taught me about the “Circle of Excellence”, a neuro-linguistic practice. An imaginary circle is pictured while the teller builds the visual, audio, and kinetic elements that would motivate and create the best environment for storytelling. For example, one might imagine an elaborate opera house with lights up, friends and family in the audience, hearing applause, and feeling warmth and delight from everyone. A cue, like putting on a cap, might trigger these positive thoughts regardless of the actual atmosphere.

Another mental preparation is to have silence. I prefer to have the radio off when I drive to a performance. This allows me to think only of the stories to be shared at the performance.

Physical

For the Story—

A mother’s whole body expands and changes to make room for the little one forming in the womb.

The first time that a story is told aloud, then the story is able to grow and become larger than it was at the beginning. Besides the words, facial expressions and gestures flow with the story. It creates what storyteller Donald Davis calls as “body memory”. The story is beyond outlines and storyboards now.

For You—

A mother attends classes to learn how to breathe properly for delivery.

Does this sound familiar? Storytellers must know how to breathe. We breathe so many times during the day that we may take it for granted. When our breathing is acknowledged, then we can control it to enhance out performance.

Our breath may quicken for showtime. Taking deep breaths in and out could calm the nerves and allow us to do our best. I enjoy throwing in some loud yawns. A yawn is the body’s way of saying that more oxygen is needed and not always that one is tired. If no other warm-ups for the vocal chords are done, then some yawns and breaths could help.

Emotional

For the Story—

A mother could have any emotion emerge at any moment. She does her best to keep the hormones in check.

A storyteller needs to have these skills of detecting when the emotions are too much for a story. Certain tales may remind of tender or outrageous moments. Sadness or anger might come forth from the story and make the audience uncomfortable. The story may need to be “excused” until enough time has passed to feel in control.

For You—

A mother knows ultimate joy because she has felt the sorrows. No matter what the obstacle, a mother knows that everything is worth it for that joy.

Fear could easily beset the storyteller. After the preparations and practices, the showtime—or delivery—of the program is at hand. Grasp onto the feeling of confidence that you did all that you could do to make the program a success. You will feel satisfaction when you hear the applause and realize that you did your best.

So what are you waiting for? Go and deliver some beautiful story success!

Until we tell again,

Rachel Hedman
Professional Storyteller
Tel: (801) 870-5799
Email: info@rachelhedman.com
Family Famine Series Site: http://www.familyfamine.com/

Monday, March 15, 2010

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