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

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/

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/

Thursday, October 15, 2009

5 Spooky Family Relationships in Folklore & How to Avoid Them Today

Families are usually the people who care about you no matter what happens.

Then there are exceptions we see reflected in folklore:
1. Cannibalism
2. Abuse
3. Abandonment
4. Neglect
5. Infidelity

Cannibalism
When one wakes in the morning, one does not usually think, "I better be careful or I may be eaten by my father today."

Yet, there was a little girl who had that fate. Sometimes the fate falls on a little boy.

The guilt rests upon the one who kills and prepares the child for the family meal. Rarely do the other family members know the meal's true source until later.

Folktales to Consider:
Applie and Orangie, from Scotland

When the mother dies, the father cares for the girls Applie and Orangie. Then, he remarries. The stepmother kills Applie and turns her into stew that the father eats unknowingly. Orangie takes the bones from the stew and buries them. The bones transform into a pigeon. The bird flies to a shopkeeper, a jeweler, and an ironmonger. The bird sings, "My mammy killed me. My daddy ate me." The people are enchanted and the bird gains a doll, a watch, and an ax respectively. Finally, the bird sings down the chimney and drops the doll for the sister. The second time the bird drops the watch for the father. The stepmother is anxious to receive her gift, and the bird drops the ax down the chimney.

The Juniper Tree, from Germany
A boy is killed and fed to the father when the stepmother desires the whole fortune to go to her daughter. The daughter knows about the evil deed, though she loves the boy and wraps the bones. The bones turn into a bird who perches in the juniper tree and sings, "My mother, she butchered me. My father, he ate me." A goldsmith, a cobbler, and a miller provide a gold chain, a pair of red shoes, and a millstone to hear the bird sing the dismal song. The family hears the bird, and the father goes outside by the tree to see. He is given the golden chain. The girl then goes to the tree and is given the red pair of shoes. The stepmother goes to the tree and is squashed by the millstone. The bird transforms back into the boy.

The Cannibal Wife, from Southern Polynesia
A mother is not allowed to be alone after giving birth. If left alone for the first year, she would turn into a witch and eat her children as well as everyone else in the village. A certain mother gives birth. Almost a year has gone by when there are plans for the babe's first birthday. The father needs more meat for the celebration, and he takes their son along for the hunt. Then, since the mother is left alone, she turns into a witch and eats everyone in the village. When the father and son return, she attempts to trick the father by having him walk in front of her to check on the fish so she could surprise attack and eat him and the boy. The father gives an excuse that he must relieve himself, runs into the woods, and makes noisy toys in the woods so she would think he was still relieving himself. He leaves the island, and to this day the woman waits for him.
***Also see Houmea, Uta's wife, from Maori culture.

Ways to Avoid Cannibalism--
Do not accidentally sprinkle salt on any family members.
Stay far enough away from the campfire so you do not roast your bottom.
Say several times aloud, "People do not taste like chicken."

Real Way to Avoid Cannibalism--Believe in Higher Being

People tend to avoid such an act when they acknowledge the existence of One who could bestow justice. No matter your religious views, the consequences of killing are undeniable and fiercely punishable.

Abuse
There are many forms of abuse from physical to sexual to verbal. A few families have more than one abuse in the home.

Often folktales highlight one kind of abuse, though sometimes all three are found.

Folktales to Consider:
The Falcon's Daughter, from Egypt

A man eats a pomegranate that grants pregnancy. He bears and abandons a baby girl. A falcon raises the child. A Sultan's son falls in love with the girl, but she must be tricked down from the tree. An old woman pretends not to know how to slaughter a sheep so the girl comes down from the tree to help. The boy sweeps her up and marries her. One day the boy asks his mother to watch his wife while in the village Hejaz. When the girl asks for bread, the mother cuts off her arm, then foot, etc. until the girl is thrown out. She receives a wish to return to her normal self and have a fruit tree. Meanwhile, the mother pretends to be the wife and sleeps with her son and becomes pregnant. The mother has cravings for grapes. Two servants go to the girl's fruit tree and hear a strange song of what happened to the girl. The boy learns the truth. The mother is killed.

The Little Match Girl, by Hans Christian Andersen
The girl fears what her father will do to her when she returns home without any money from selling matches.

Noodlehead Stories, from around the world
In these tales, often the mother repeats a phrase like "Ain't got the sense you were born with" when her child performs a foolish act. The frequency seems to create a self-fulfilling prophecy that this would be the child's unavoidable fate. This could be considered a form of verbal abuse.

Way to Avoid Abuse--Support Positive Discipline

Sometimes family members resort to abuse for they feel compelled to stop misbehavior or certain actions. This does not mean that the victim is in the wrong, but only that the offender craves some level of power.

Abuse often leads to the seeking of revenge by the victim. At other times, there permeates the feelings of worthlessness. These mind-sets could be appeased by using respectful methods such as avoiding "I told you so" statements as well as encouraging people to explore mistakes through thoughtful questions. As a result, the people could reflect on their actions rather than listening to someone tell them what is wrong all the time.

Abandonment
Perhaps you have heard the phrase "babes in the woods". During times of war, some European parents would abandon their children in the woods because they could not take care of their temporal needs.

Folklore then reflected this reality.

Sometimes the abandonment occurred when parents lost faith in the ability for their child to survive. Though a child may live and then harbor ill will towards the one who abandoned them--or allowed them to be abandoned--a parent was blessed indeed if the child forgave them.

Folktales to Consider:
The Powerful Boy, from Seneca people

A baby is born no bigger than a palm. The father thinks it will die and abandons it. The father's five-year-old son finds the baby, feeds it, and they become friends. The father learns of the baby's strength and survival and is reunited. The father tells his sons not to go north, but they do. The powerful boy kills all the frogs since he thought they threatened his father. The father tells his two sons not to go north again because of Stone Coat, a giant. The boy goes alone, tricks Stone Coat, and kills him. The father tells the boy not to go southwest because it is gambling country. The boy wins the bet against the buffalo-size-head man and frees the people. The boy goes east, wins a game against two clans, and receives land. The father and two sons move there.

Hansel and Gretel, from Germany
The mother fears their poverty, and convinces the father to abandon their boy and girl in the woods. The children overhear, prepare, and return home. The children are abandoned a second time, and despite their attempts to find home, they find a gingerbread house. After escape from the witch who lived there, they return to their home. As the mother died in their absence, the father welcomes the children home, never to be abandoned again.

Forsaken Brother, from Ojibwa people
A sister and brother promise their dying father to always watch over and provide care for a sickly brother. The older brother leaves first, and the sister endures longer until the loneliness overcomes her soul. The sickly brother must fend for himself. He is befriended by wolves and transforms into one. When the sister learns of the change, she mourns to the end of her days.

Way to Avoid Abandonment--Practice Smart Finances

Nowadays, people have accrued major credit card debt and have spent more money than they earn at one time. Interest never sleeps, and the debt continues to grow.

Avoid credit card use whenever possible and attempt to have a zero balance. Review the family budget periodically and decide together on ways to save money. Build stronger bonds with each other by doing wholesome recreational activities that cost little money or are free.

Neglect
Addictions often cause neglect of family members, and these addictions could include anything that keeps one away from fulfilling responsibilities. Though one usually thinks of drugs, alcohol, and pornography first, slothfulness or constant Internet usage could be as deadly to family relationships.

Folktales to Consider:
Misery, from Russia

A poor brother asks for food from his rich brother. The rich one invites the poor one and wife to a feast, yet the rich one gives no food to them. Although hungry and thirsty, the poor one sings as though fed and drunk like the other guests. Misery hears the song and invites the poor one to the pub and convinces the brother to sell a sheepskin to pay for the drinks. Then the brother drinks himself out of his sledge, cart, harrow, plow, hut, and even his wife's dress until nothing is left. Misery tells the brother to borrow a neighbor's cart and oxen for more money to continue drinking. Finally, Misery shows the brother where to dig for gold. The brother takes the gold, and then bumps Misery into the hole and buries him. The rich brother is jealous and releases Misery in hopes for revenge. Instead, Misery attaches to the rich brother. His wealth dwindles until destitute. He plays hide and go seek with Misery and tricks him to be stuck in a wheel spoke. He drowns Misery in the river.

Lazybones, from Hungary
A wealthy farmer has a lazy daughter who never has dates due to this fact. One night she attends a dance but no one dances with her because of her laziness. Then one man dances with her, despite being warned, and decides to call on her family. He proposes, the daughter accepts, and the parents give a huge chest full of clothes. Every day the girl wears the clothes and burns them when soiled since she is too lazy to wash. She runs out of clothes, the husband dresses her in straw, takes her to her parents and leaves her there. He remarries.

King Midas, from Greece
King Midas helps a satyr who mentors Dionysus, the god of the life force. After listening to the satyr's stories of the City of Atlantis and the streets paved with gold, King Midas desires such a life for his people. Dionysus grants a wish for the king's kindness, and the king asks that anything he touches would turn to gold. He accidentally turns his daughter into gold, and mourns over his golden touch. He asks to be free of the curse, but it is too late to save his daughter.

Way to Avoid Neglect--Rehabilitate from Addictions

Always surround yourself with people who have your best interests at heart. Some addictions have support groups like Alcohol Anonymous. Before any help is sought from these groups, it is best to admit the wrong to your family and have them cheer you on during this process.

These same family members could help remove some of the temptations that caused you to be in this rut such as getting rid of any alcohol in the home, setting up filters to avoid pornography, and so on.

Infidelity
Adultery and betrayal often create headlines for our newspapers, magazines, and television channels. As we are all part of the human family, perhaps it seems inconceivable that we would cheat the ones we profess to love.

Sometimes a family member, usually a spouse, suspects another of such acts when, in fact, the person is innocent.

Folktales to Consider:
The Flight of Birds, from England

A husband is jealous of anyone looking at his wife. One day, a handsome stranger comes to their home to seek shelter from the storm. Throughout the night, the husband imagines that the man and his wife wish to sleep together. Then the husband believes rather than thinks these thoughts. He leads her with a rope outside to hang her. Every time he throws the rope around the limb, a flock of birds disrupt the toss and the rope falls to the ground. The husband tries a pine tree away from the birds. By now it is dawn. The birds appear. The husband repents. The couple walks home.

Zeus and Hera, from Greece
There is not one particular story to choose, as Zeus was constantly being unfaithful. Zeus sometimes resorted to trickery to avoid detection, though Hera usually found out shortly after or during the offense. Even when Zeus and Hera first met, he transformed into a cuckoo bird that needed warmth from the winter winds. Hera gave the bird warmth against her breast, and that was when Zeus transformed and raped the goddess. She married him to conceal the shame, especially as virginity was the most sacred to her as proof by the yearly baths she took in the spring Canathus that renewed this gift. After their marriage, Hera often punished any mortal or goddess for whom Zeus constantly slept with or raped. Though other gods sought Hera, she was always true to Zeus.

The Man Who Came Out Only at Night, from Italy
The youngest daughter of a poor fisherman agrees to marry the man who comes out only at night. She learns that he is a tortoise by day and a man by night. If she were faithful the whole time while he travels around the world, then he would be a man forever. Her husband gives a diamond ring and tells her that she could use its power to good ends. He leaves. She gets a job at a bakery and blesses it with customers by the ring's power. Three men fall in love with her and offer money to sleep with her. One-by-one, she invites the men and has them, through the ring's power, do tasks around the bakery all night so she can get rid of them in the morning. The three men report her to authorities, but she uses the ring's power to have authorities play leapfrog. Her husband returns and becomes a man forever.

Way to Avoid Infidelity--Extend Trust to Others and to Self

Believe that you could be a wonderful husband, wife, son, daughter, sibling, or whatever roles you undertake in your family. Then believe the same of the other family members.

When there are disagreements, be willing to discuss them without interrupting each other's thoughts. Sincere listening could build the trust to develop positive solutions.

Books to Find the Folktales Mentioned:
Until we tell again,

Rachel Hedman
Professional Storyteller
Tel: (801) 870-5799
Email: info@rachelhedman.com
Performance Blog: http://familyfamine.blogspot.com/
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Thursday, October 01, 2009

Global Story Sisterhood Relations: 3 Ways to Become Family

Storytellers exist in every city, country, and continent.

When we gather at festivals, conferences, or other events, we experience a kind of storytelling family reunion.

Then everyone goes home.

Nowadays we have the Internet to be updated by our fellow "brothers and sisters" in storytelling. . . .and sometimes that is where it ends.

Or could we do something more?

Storytelling organizations could create Story Sisters much like the Sister Cities or Town Twinning established through government or municipal levels. We could encourage growth and advocacy in the art.

How could such relations be forged?
  • Involve Local People and Determine Purpose
  • Discover Group with Similar Goals and Make Introductions
  • Collaborate and Share Results
Involve Local People and Determine Purpose
A collaboration of any kind always starts with an individual. You. Someone has to envision the partnership.

Then you find another individual in your vicinity. Most likely this would be another storyteller.

Add another individual. And add another individual.

If you have a storytelling club or guild in the area, then it would make sense to involve them. A guild could be a sister to another guild.

Feel free to expand the outreach with other pro-story people. Consider businessmen, educators, librarians, retirees, and youth.

Think about groups such as rotary clubs, churches, hospitals, schools, local government, and anyone else who could be excited to be with storytellers.

When I used to be with the Brigham Young University Storytelling Club, we called other clubs that we collaborated with as "cousin clubs". Performing art groups made sense to join efforts such as Y Juggle, the juggling club on campus. We combined skills to create the program "Once Upon a Juggler". The first and last stories of the session merged storytelling with juggling. Then, we rotated from storyteller to juggler to storyteller throughout the night.

Local collaborations are plentiful.

Chat about the purpose of gathering. What is the desire to connect with other people, groups, or organizations outside the area?

Hopefully, you are thinking beyond monetary reasons. Perhaps there are services or expertise that could be exchanged. Maybe you could create a youth program to teach leadership through story-based methods. Do you need volunteers to run storytelling festivals or events?

Whatever it may be, have everyone in agreement before moving onto the next step.

Discover Group with Similar Goals and Make Introductions
If the group you wish to meet has a website, then read their mission statement or objectives to see if they match the ones that your local group agreed on.

The Internet makes this possible as well as an invention that has been around for a while: the telephone.

For international calls, consider using a service like Skype to save money.

There is something about hearing someone's voice that is more inviting than simply sending an email request.

Some people are fearful of contacting someone from another part of the country or the world, though one only needs to remember that these people could love stories as much as you. . .if not more.

Some national groups to consider for collaborations or guidance:
Click here for another online listing of storytelling organizations.

Once the relationship is established, then have each group's leader send the other group's leader an official letter to ask to work together. Be sure to share a general overview of your group, especially if this is the first time to be in contact. You may want to add promotional items like pins, pens, or anything else as a friendship gift.

Collaborate and Share Results
Decide on a project or at least determine a tentative time-line of when certain results would take place.

Did you want to have a Multi-Art event?

Would you like an elementary school class to interview senior citizens for stories?

Do you want Rotary club members to contact their international chapters for a storytelling event with broadcast abilities?

The ideas are endless.

Though, let the world know about them.

Share the project updates through websites, blogs, Facebook groups, Twitter, or any other social media tools.

You may find that spreading the word intensifies support. You could expand the scope you have for the next project or collaboration.

You would experience these storytelling reunions and efforts time after time.

Story Sisters could last for generations.

Now that is a storytelling family reunion!

Until we tell again,

Rachel Hedman
Professional Storyteller
Tel: (801) 870-5799
Email: info@rachelhedman.com
Performance Blog: http://familyfamine.blogspot.com/
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Tuesday, September 01, 2009

Generation Gap of Tellers: 3 Ways to Prove This Myth Wrong

By the way some storytellers sound, it seems that the 40+-year-American Storytelling Movement is coming to a close as more and more tellers are aging . . .and passing on.

At one time, I, too, had wondered about the generation gap.

Every time I attended a National Storytelling Conference, I was lucky to find 10 tellers within the 18-35-year-old range. Youth tellers, except for the Kids’ Koncert there, were practically nonexistent.

So we thought.

Then, after seeing the curious and excited looks of college students as I ran a booth on the art on their campus, I realized that the generation gap was only as looming as one made it to be.

Suddenly, I needed sunglasses to see the bright future.

Three Ways to Prove Generation Gap Myth Wrong:

  • Use Different Names for the Art and the Artist


  • Make Appearances on Campuses Beyond Performances


  • Promote Generational Participate at Events

Use Different Names for the Art and the Artist

We are attached to the name “storyteller”. The name has a long and cherished history with people of all ethnicities, tongues, and climes.

Then something changed.

People have their lists of what de-valued the status of storytellers: television, video games, Internet, falling family values, drugs, gangs, etc. Whatever the reason or reasons, the name “storyteller” does not have the power it once had with youth and college-aged students.

Although the term “storyteller” could still be used as a label or profession, we need to add other words to our daily vocabulary within and without the storytelling community.

Otherwise, we run the risk of having certain images evoked when saying “storyteller” such as the picture of an old lady reading stories to preschoolers. Yes, we do have storytellers that have talents in “story-reading” as well as connecting with preschoolers, but our art offers even more variety than this pre-conceived idea.

So how can we increase other storytelling images when youth or college-aged students think of our art?

We connect with other narrative-based art forms and use some of their words to invite others to our art form. Some terms to consider: humorist, slam artist, spoken word artist, sit-down comedian, solo performance artist, etc.

For new festivals or events, we can experiment of naming it a “story festival” rather than a “storytelling” festival. For example, out in Hawaii there is the Talk Story Festival. Director Jeff Gere said that the phrase “talk story” was slang used often on the islands and thus it was adopted as the event’s name.

Make Appearances on Campuses Beyond Performances

Imagine the chance to introduce storytelling as an art to pursue with 3,500 or more people. . .in one place. That is easy to do when you connect with a campus.

Weber State University has an annual tradition of booths, prizes, and food also known as the Wildcat Block Party each Fall Semester. I cheered when given approval to have a booth to promote the Weber State University Storytelling Festival there.

Since there would be over 100 booths, I knew our booth had to stand out. We had to have a drawing with many storytelling-related prizes and candy. We also had the basic email list, festival business cards, and fliers.

After about five hours, I earned some sunburns—red battle scars—that told me that the day was victorious.

The results: 98 people entered the drawing, 56 signed the email list, 70 cards were taken, and 30 applications to audition for the festival were taken.

Yes, I do understand how the numbers work. Though 30 applications to audition were taken, perhaps five actually make the effort.

Yet, if five new college tellers were gained per Fall Semester over the course of 20 years, then that would be 100 new artists to storytelling.

Consider now that this was done for Fall and Winter Semesters at 50 universities, with one per state, what would your number be?

That would be 500.

The current membership for the National Storytelling Network is about 2,000 people.

Though, this idea of booths is not limited to college campuses. Although the main place to find storytellers are in elementary, middle, and high schools, there could be booths dedicated to the art during events where these students could be found.

We could play with numbers all day—and this is all hypothetical—but you can imagine that the generation gap of tellers does not have to exist.

Promote Generational Participation at Events

Most storytelling events unintentionally ignore youth and college-aged students by the tellers they invite. Every event is entitled to figure out how they go about choosing their tellers, however, if concerned about the generation gap of tellers, the next step is to invite them to tell.

As mentioned earlier, the booth promoting the Weber State University Storytelling Festival had applications so that college students could audition with 8-minute-or-less stories.

When students approached the booth, we called out, “Are you a storyteller, a story appreciator, or both?” Regardless of their answer, we could either guide them more about storytelling events happening and/or share opportunities of how they could be storytellers . . .and get paid.

This way, we start each session with two 3-minute story slots for youth, one 8-minute story slot for college students and adults, and finally about a 25-minute slot for the featured teller.

Returning to the numbers game, what if every storytelling festival reserved 3-5 slots for college students and youth?

Perhaps you will no longer believe in the generation gap of tellers, too.

Until we tell again,

Rachel Hedman
Professional Storyteller
Tel: (801) 870-5799
Email: info@rachelhedman.com
Performance Blog: http://familyfamine.blogspot.com/
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Saturday, November 01, 2008

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
Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Wednesday, August 15, 2007

Diversity of Race/Religion in Storytelling Venues

Disclaimer: Views shared do not reflect any type of scientific survey.

Diversity is often celebrated as a “must-have” for any event including storytelling festivals, conferences and associations.

Types of diversity could be endless, though two are explored here:

  1. Race/Ethnicity
  2. Religion

Question to Ponder:
What types of diversity, if any, have you experienced at storytelling venues? (Examples: Race/Ethnicity, Religion, Gender, Age, etc.)

Race/Ethnicity
Upon viewing the average storytelling festival attendance, one can quickly see the vast number of white people. Geography is only one factor as to the audience mix of a storytelling event.

How one would define “white” continues to be debated. At one time or another, Asians, Native Americans, Jews, Irish, Italians—to name a few—were not considered white. Regardless of your personal definition of “white”, sometimes there is few if any variety in colors and cultures within the audience members as well as in the storytellers who headline events.

This is not to say we have a low number of colors and cultures as storytellers despite the majority of whites exhibited in the National Storytelling Network membership. A few cultural organizations include the Black Storytellers Alliance, the National Association of Black Storytellers, the Jewish Storytelling Coalition, and the International Hispanic Storytellers Association (contact Consuelo Samarripa).

When it comes to who are the tellers, there have been complaints that storytelling festivals/conferences do not have enough ethnicity. Usually these complaints are oral and rarely found written in publications or on the Internet, yet these feelings exist. The complaints come from all colors and all ages and often the National Storytelling Festival or the National Storytelling Conference are venues given as examples.

For the 2007 National Storytelling Festival, I looked at the brochure to determine the truthfulness of the complaints. You can decide for yourself by going to the National Storytelling Festival website and viewing the pdf file of the brochure. It may be more productive to ask the featured tellers of what ethnicity they represent. Asking one’s race is personal and complicated so doing such a thing could be considered taboo.

As for the 2007 National Storytelling Conference, it would be easier to state—“Yes, we have a lack of color”—especially if claiming to be “national”.

As every event has different purposes or goals, perhaps the tellers we see featured reflect these goals.

Diversity goes well beyond the color of skin.

Religion
From Ed Stivender’s “Growing Up Catholic” tales to the Jewish tales shared by Penninah Schram, certain religions are more prevalent than others on the stage. Sometimes these tales bring humor or reverence to one’s own beliefs.

If you are interested in telling stories from any kind of religion, then contact the Interfaith Discussion Group that is part of the National Storytelling Network. This group provides a list of events such as the Sacred Mountain Stories in Arizona, the Children at the Well in New York, or the Third World Peace Interfaith Storytelling Gathering in Colorado.

As for specific religious storytelling groups, you could go to the Christian Storytelling Network or the Jewish Storytelling Coalition. I attempted to find other religious groups. If you know of any others, please let me know.

During the 2006 Utah StoryFest, a conference geared for the Utah Storytelling Guild and general public, the question was raised as to why there were not any Latter-day Saint (Mormon) storytellers telling LDS stories on the national circuit. Part of these stories could include Bible stories as well as stories from the Book of Mormon. Other stories could involve pioneer stories of the trek west into the Salt Lake Valley to the modern times of “Growing Up Mormon”. The StoryFest attendees supported the idea though, as of yet, I do not know any LDS tellers who have pursued the idea. When I asked some storytelling institute classmates at East Tennessee State University as to how they may respond to hearing LDS stories, positive responses were received.

“Growing Up” stories from any religion have strong possibilities. One of the popular classes at Brigham Young University is World Religions. College administrations across the globe are searching for more ways for their students to experience diversity.

Whether providing space for religious or ethnic tales, turning to universities could be an answer beyond the regular storytelling venues of festivals and conferences.

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/