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

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

Tuesday, June 01, 2010

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

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

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

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

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

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

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

There are three main areas that have changed:
  • Common Characters and Jobs
  • Self-Made Monsters and Disasters
  • Rural to Urban to Viral
Common Characters and Jobs
In the folktales of the “long ago and far, far away”, the main character or hero tended to start as a farmer. Oftentimes, some royalty made an appearance.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Until we tell again,

Rachel Hedman
Professional Storyteller
Tel: (801) 870-5799
Email: info@rachelhedman.com
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/

Friday, January 15, 2010

5 Ways How Adopting a Story is like Adopting a Child


To be released November 1, 2010, National Adoption Month, will be a book called “Year of the Family: 12 Adoption tales to place in your home and to value the process today”. Pre-orders and updates are at www.yearofthefamily.com. All proceeds go to our adoption fund.

My husband and I have always wanted children. I have wished to peak at the Lord’s planner to find out when we would have kids as we have been married over eight years. We are one of many couples in the world who wish to grow their family. Then came the beautiful word of “adoption”.

We knew that whether we were blessed with children biologically or not, part of our family would come through adoption. Things would work out.

Since I am a professional storyteller, I tend to think about stories and how they relate to all aspects of life. While my husband and I began the adoption process, I contemplated how similar the steps were in finding and developing stories.

Here is the Adoption Process of a Story:
  • Decide to adopt a story in the first place
  • Determine what your heart may be open to receive in a story
  • Figure out your story agents in the process
  • Be patient and expect changes along the way
  • Love the new story as one of the family

Decide to adopt a story in the first place
Sometimes it seems life would be easier to stick to the stories already in your repertoire. There is so much research, refinements, and rehearsals to each tale that it could feel like you truly went through labor to deliver and give birth to the story.

Yet, something inside the storyteller’s heart urges us to have another story and another story and another story. The search for the story that would fit within your style could be an exhausting . . .yet satisfying journey. When you decide to take the first step for a new story, then you are one step closer to performing it.

Determine what your heart may be open to receive in a story
There are so many genres and kinds of stories. Are you interested in telling stories that heal the soul? Challenge the social norms? Stretch and exaggerate the truth? Explain how certain landmarks or traditions came to be? Interact with the audience through improvisation? Relate a personal or family experience to cherish a moment? The list could go on.

Likewise in the actual adoption process, there are lists that a couple marks known as a matching sheet. Preferences such as desired age of the child, racial background, and medical conditions could be pages in length.

As storytellers, we may feel open to experience each kind of story at least once. Perhaps we find our niche or specialty and pursue one or two kinds.

Figure out your story agents in the process
I meet with three different “story agents” normally known as my “story buddies” every week. We divide the time equally so that full attention could be given to our most recent projects.

An adoptive couple may decide to connect with one or more agencies. We have chosen to work with one. We keep in contact with the caseworker appointed to us. With more agencies involved, then the process may quicken. There is also the balance of time and money.

The number of “story agents” a storyteller has may also be determined by time and money. Friends may give of their time for free, though there are storytellers who specialize in coaching and could charge a fee.

Be patient and expect changes along the way
A story may not come to together as fast you dreamed. The creativity could be flowing and then suddenly stop. Months or years may pass before any development actually happens with it.

As for the paperwork involved with adoption, once completed there may be an average of six months to a year because placement with a child in the home. Some potential adoption couples have waited for five or more years.

Love the new story as one of the family
The story will develop and arrive on that stage . . .after the proper time creating outlines, storyboards, imagery explorations, or whatever ways you use to piece a story together. Celebrate this success by premiering the tale with family, friends, or community. Take pictures. Record the experience. Do all you can to relish in the moment.

The story may be new, though you could love it as much as any other story in your repertoire. Mix it with your other tales. Watch as the story grows. Congratulations. The story is part of your family.

The same can be said the moment that a child is placed in the arms of an adoptive parent. Some wonder if one could truly love someone who is not biologically connected to them, and yet this love happens every day. The child will sense your care for them and emulate the feeling.

So. . .are you ready to start the story adoption process?

There are many tales waiting for a teller like you.

Until we tell again,

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

Friday, January 01, 2010

Future Success: 3 Key Ways to Tell the Story of Your Goals

K. Sean Buvala, storytelling marketing guru and director of Storyteller.net, inspired this blog post by coaching me to pretend it was December 31st of the new year and what I wanted to accomplish. With his permission, I expanded upon this exercise on ways to share goals like stories. If you would also like to be coached by Sean, then email him at sean@storyteller.net.

Lists, lists, and more lists. Such a thought could cause one to moan and groan when every year the goals must be figured out. Fortunately, there is a more empowering and effective way to enjoy this recurring process: tell goals as stories.

Consider the outlines that a teller may use to learn and develop a tale. When it comes time to perform, the outline is set aside so that the moment can be shared by the teller and the audience.

As for goals, the audience most important to please would be you.

Three Key Ways to Transform Goals into Stories:
  1. Characters
  2. Settings
  3. Moving the Plot Forward
Goal Characters

You
Yes, you are the hero in your story. When December 31st comes of the current year, be prepared to share an epic journey. You will have the expected trials. Folktales tend to have at least three, though do not dismay if you face more than that number. For remember, the hero conquers them in the end.

Family and Friends
Any hero in a story needs the mentors and the helpers. Family and friends are the perfect ones to fulfill these roles. Sometimes family and friends are similar to the cheering villagers found in fairy tales. Others get more involved and might be in contact on a daily, weekly, monthly, or quarterly basis. It could compare to the walk along the path to visit the wise old woman or man for advice.

Business Associates
At times, the hero needs to have accommodations or supplies to make it past the dragon, monster, or other obstacle. Consider the business people who have the skills needed to help you accomplish your goals. You could go a step further and include key individuals into your business plan complete with contact information.

Goal Settings

Home
The hero tends to leave home in search of another home. Yet, we live in an age when home offices are common. Furniture or routines may need to be adjusted to create “another home” that is more conducive to a productive environment . . .and especially as it relates to your goals.

Potential Performance Areas
You are a storyteller. Obviously there will be places in which you will be before an audience. Part of your goals might entail have so many new venues. Perhaps you want at least a certain percentage of places you have told at in the past. Whatever your endeavors, you could close your eyes and imagine perfect performances at these places. Although the likelihood of everything—or anything—being perfect, envisioning such a dream could boost your energy and motivation so you may have many “practically perfect” moments.

Businesses
Storytellers need to collaborate and work alongside businesses from print shops to recording studios to advertising offices. If you have ongoing relationships with people, then it will be easier to picture the places where they do that fantastic work for you. These people and businesses are every part of the setting of your goals. You may want to imagine atmospheres of creativity, understanding, and of clear communication.

Moving the Plot Forward for Your Goals

Breaking Big Goals into Smaller Goals
Stories have scenes. Each moment builds upon each other to the grand goal. Though, if you only saw the “grand goal”, then that would only be a one-sentence story. These short stories may be nice to share at a party, but then they are forgotten the next morning.

Placing Smaller Goals on Calendar
Storytellers are faced with choices in every part of the process. There are endless possibilities. This could become overwhelming unless put on a visual map—also known as the calendar. Color-coding works for quick recognition on the calendar, especially as you most likely want to accomplish more than goal over the course of the year.

Add Details for Flavor
If your goals still feel like an outline of ideas rather than a story, then add details that would excite you beyond the basics. Do you have an outfit planned for that premiere of yours? Who will be at some of your performances? What does your face look like when the package of new CDs is delivered to the door? This is your success story so you have the right to make-up details—realistic or not. You may be surprised what comes to pass.

Keep in mind to share your story in the past tense—as if it already occurred. This act solidifies the glorious image in your head.

Are you ready to tell your future success story now?

Go ahead.

Have your happily ever after.

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 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/
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