Celebrating 100: Top 10 Storytelling Posts Over the Years

Reaching 100--whether as an age or the action of doing something that many times--is an accomplishment.

You are reading my 100th post on "Voice--A Storyteller's Lifestyle".

This blog started on August 17, 2006 with roughly two posts a month since that time. The articles here have ranged from storytelling techniques, tips, opinions, insights, and interviews.

Out of these 100 posts, the top 10 were determined by the number of times viewed or based on personal preference.

So drum roll please...

Top 10 Storytelling Posts:

10. Microphone Manners: Loud & Clear Ways for Pros (1/15/08)

As the microphone rests on the stand, waiting for you to grab it, confidence swells because you know the show will be successful.

9. Today's Bards & Seanachies: Irish Wisdom in Storytelling Techniques (3/15/09)

Having the "gift of gab" by kissing the Blarney stone is not enough to be a storyteller.

8. Storytelling Games: Never too old to Play (10/1/07)

Adults seem to shy away from playing storytelling games to improve their skills as storytellers. (Plus game examples)

7. Grant Writing for Storytellers: Art of Success (6/15/07)

You have a fantastic project in mind and everything is coming together . . .except for the funding.

6. Mythical Storytelling Network: Dreams of Reality (8/15/08)

Our dream ideas as storytellers to further the art in the minds of the general public are often hindered by our working within the boundaries--whether drawn by us or others. (Reflections from 2008 National Storytelling Conference Brain Trust Session led by David Novak)

5. Losing Your Voice & Finding it for Showtime (11/1/07)

Once I was told that my voice would be confiscated. ( (tips to care for throat)

4. Stage Fever: How to Make a Portable Backdrop (12/15/06)

The stage beckons many of us storytellers and often we wish we could always count on having a stage.

3. Story & Poetry Slams: 5-Step Evolution of Art (11/16/06)

Storytelling and poetry have existed for centuries and now these art forms have evolved into something more intense and lively.

2. That Fairy Tale called Childhood, Mr. Glodowski, and Lifelong Learning (10/15/10)

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

1. 5 Ways How Adopting a Story is like Adopting a Child (1/15/10)

My husband and I have always wanted children. (adoption process of a story)

You may know how the #1 post got its position. That is personal preference as my husband and I are going through the adoption process. You can see our adoption profile here or see my "Year of the Adopted Family" storytelling project here.

What has been your favorite storytelling post?

Or, if this is your first time here, what drew you to this blog?

Your comments, as always, are welcomed.

Who knows? Maybe THIS post is your favorite.

Until we tell again,

Rachel Hedman

Professional Storyteller

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com/

How-To Blog: http://storytellingadventures.blogspot.com/

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

Year of the Adopted Family Project: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Creating a Youth Storytelling Community One Kid at a Time

Most youth storytelling events are just that: events. Nothing may occur for another year. Until then, the youth have nowhere to express their talents.

This is assuming that you have at least one youth storytelling event in the area.

Even with intense organizational efforts, the youth may not feel like they were important to its success.

One youth teller stated in front of parents, teachers, and coaches, “No. This festival is not about me.”

For such a youth-centered event, the answer was devastating. The leaders vowed to change this perception.

To create a youth storytelling community, you will need to:

1. Build an Event for Youth
2. Develop Reunions and Gatherings
3. Promote Storytelling Games and Fun

Build an Event for Youth

Expand your mind as to what could be considered an event such as a: party, social gathering, house concert, library activity, school assembly, campus celebration, civic meeting, contest, festival, etc.

An all-youth storytelling event is preferable, though youth tellers could share the stage with adult tellers and performing artists. Some places encourage artists to come from the community, thus inviting amateurs and professionals. Adult and child levels could be supported.

A festival allows for more than one youth teller to participate in the program.

For the three-day Weber State University Storytelling Festival, 87 youth took part along with 4 national tellers and 30 Utah adult tellers.

Most events will not have as much opportunity to highlight that quantity of youth. If the audience leans towards about 50-100 people in the audience, then 3-5 youth might be able to join the other performers.

Having one youth teller as part of an event would still be one more teller than what normally occurs.

Develop Reunions and Gatherings

A parent exclaimed, “My child has been anxious for this reunion for months.”

After 14 years, the Weber State University Storytelling Festival endeavored to hold a Youth Teller Reunion. The idea could be one of the first of its kind.

During the 2010 February festival, each of the 87 youth tellers received a “Save the Date” postcard. At the beginning of June, letters and RSVP cards arrived to the youth’s homes. Inside the letter the youth were told, “You are officially part of the Festival Family and will be invited every year to this new tradition.”

Youth tellers from other festival years could join the reunion, but that would come from word-of-mouth. One year’s worth of youth would be a large enough group for the kick-off.

An event involving any number of youth inspires a reunion. Three youth would be enough to have an ice cream party or a retreat. Besides, it is easier to arrange smaller gatherings. These gatherings may evolve into something bigger like a reunion.

A reunion need not be an expensive affair.

The Youth Teller Reunion of the Weber State University Storytelling Festival was fortunate to have the Ogden Eccles Dinosaur Park waive its rental fee for the space. The park already generated excitement. The Park offered for the youth teller and one parent to attend for free while other family members paid the group rate.

Out of the 87 youth, 24 came. With parents and family members, the numbers reached 76 people.

To further the low-cost approach, the families brought their own lunches. The festival donated items like water bottles, Frisbees, storytelling CDs, and posters as door prizes.

About a week previous to the reunion, 12 names of youth tellers were drawn to determine fairly who would perform for the concert at the park. After the concert, the families could roam the dinosaur park for as long as they liked.

A reunion provides a story-filled day to energize the youth to continue in the art.

Promote Storytelling Games and Fun

While at the Youth Teller Reunion, parent-volunteers led the youth in games. Once taught, the youth could play the games and teach others . . .possibly other kids in their neighborhood.

Provide a copy of these games, possibly through email, to the youth. Give them freedom to adapt the ones on the list or to create their own games.

The youth may enjoy playing the games so much that they will wish to form a storytelling club. These clubs may be as informal as kids wandering into the same space and “talking stories”. Some organizations, like 4H, may sponsor the gatherings while some schools may opt the storytelling clubs as after-school activities.

For storytelling game ideas, check out the book “Raising Voices: Creating Youth Groups and Troupes”.

I also feature a storytelling game each month as part of my e-newsletter. You can go to http://www.rachelhedman.com to sign-up for this free resource.

So what are you waiting for?

Your youth storytelling community may have the population of one.

But one plus one plus one plus one. . .it adds up.

Until we tell again,

Rachel Hedman

Professional Storyteller

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com/

How-To Blog: http://storytellingadventures.blogspot.com/

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

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

3 Reasons Why Improvisation is Crucial to Youth Today

Think of the perfect words to say in a few seconds.

Then say them.

Such are skills that storytellers cherish and that youth could benefit from if trained from the beginning.


Reasons to Build Improvisation Skills in Youth:

• Balance Recitation in Life
• Increase Independent Thinking
• Develop Quick Solutions

Balance Recitation in Life
Youth have been told what to say since babies. "Mommy" and "Daddy" are common requests from parents for the baby's first words.

Siblings may join in this contest of words.

When my parents gave me a tape recorder for Christmas, I pretended to be a reporter. I had certain phrases I wanted my younger brother and sister to say.

In schools, kids are expected to memorize, recite, or repeat what the teacher says or what the textbook proclaims. Sometimes this encouragement is needed to build vocabulary. However, at a certain point, we need youth to explore their world and play with sound and images.

Some teachers boost creativity in their classrooms by encouraging students to write historical fictions. Other teachers merge storytelling games with curriculum. Usually the games work best as a review of material so that the students could adapt their improvisations to the knowledge learned.

Increase Independent Thinking
Kids cannot vote in elections until the age of 18. That is a while to wait before their voices are officially counted.

In the meantime, they rely on the decisions of adults to shape most of their political, economical, and social lives. . .unless they build confidence through improvisational skills.

Improvisation is another way to give youth permission to think outside the norm. Risks and mistakes are part of the practice. Adrenalin rises and the heart pounds, but these natural reactions seem to also fire the synapses in the brain. The more we test our wits, then the easier and faster our brains work.

Story repertoire could be as much as a source for building improvisational skills than storytelling games.

The youth could make a list of stories they could tell with ease. Then they could make a list of stories that could be told after one or two run-throughs. While reflecting on the keywords, moods, and moments within the stories, the youth may be inspired to tell one story over another given the situation.

Perhaps they may create stories simply by looking into the eyes of their listeners.

Now that is independent thought.

That would be a gift that youth could take with them and use while giving presentations in college, answering interview questions of potential employers, or addressing needs of their own families as they have children of their own.

Develop Quick Solutions
Youth seem to fly through their baby, toddler, adolescent, and teenage years until suddenly they are going to college.

Every second that youth save in making right choices--whether saying no to drugs, cheering a friend to do their best, or handling bullies--improvisation skills provide resolution to their lives such as through role-playing techniques.

The lack of role-play or exploration of possibilities leads to resistance.

While attending an excellent workshop taught by national teller Angela Lloyd for teachers and parents who coach youth tellers, two youth tellers were asked to be coached in front of everybody.

As Lloyd promoted the tellers to share the prepared stories in words other than what was memorized, one youth repeated the same words. Lloyd was patient and asked the question in different ways so that the youth learned other ways to approach the story.

Sometimes, if shy, youth may be more willing to play with the story when done with a partner. Then the youth would have support in the process and could bounce off pretend dialogue with the other person for the story.

Who said that quick thinkers needed to be alone to produce the solutions?

When other youth are not available, then at least the youth could count on you.

Go out there. Cheer on the youth. Enjoy storytelling games. Build stories in the moment. Role-play.

You know you want to play. So do the youth.

Until we tell again,

Rachel Hedman

Professional Storyteller

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com/

How-To Blog: http://storytellingadventures.blogspot.com/

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

Storytelling Games: Never too old to Play

Adults seem to shy away from playing storytelling games to improve their skills as storytellers. Yet, a youth storytelling club would suffer if games were not played. (Some games listed at the end.)

During my days at Brigham Young University, our storytelling club meetings almost always included some sort of game. Games are not reserved for the young.

How Games Help Adults/Kids:
1. Spark imaginations
2. Strengthen improvisation skills
3. Gain insight for in-process stories
4. Build leadership and speaking skills
5. Create a chance to laugh

Spark imaginations
How each person interprets the game will be different. With two or more people playing the games, you may experience reactions not guessed on your own.

For example, you may play the game “Carry On” and a person passes an imaginary lizard to you. Your choice could be to pretend to pet it while another person may pretend to eat it. This could trigger thoughts like “what if someone ate a lizard?” or “who would enjoy eating a lizard?” or “what could convince someone to eat a lizard that they would otherwise not ingest?” The questions could be endless. Any ideas triggered by playing a game would be important to store in some way whether by writing it down, recording the idea on a mp3, etc.

Strengthen improvisation skills
Most storytelling games require some sort of improvisation such as adding the next line of the story, acting out images or emotions that other people may throw into the story, reacting to another person’s actions and so on.

When I was in high school, I competed in storytelling through Forensics (public-speaking contests). There was a certain story that I told almost every week. Then, without warning, my mind went blank. I was not about to let the judge know that the plot and ending had escaped me. To this day, I do not remember how I saved the story. Yet, I finished the story with a different ending and received high marks from the judge. Warming up with storytelling games before the performance built my impromptu skills.

National storyteller Ed Stivender is one of the cleverest ones to use spontaneity to his benefit. First, he asks the audience for a well-known fairy tale like Cinderella or Snow White. Then, he asks for a different setting, a bad habit that a main character has, objects, and anything else that makes the story sound crazy. Finally, on the spot, he creates the story. Audience members are able to walk away from the performance knowing that they co-created a humorous masterpiece.

As for national storyteller Olga Loya, she starts a story, pauses, and calls on someone to shout out anything that comes to their mind for the next adventure in the plot. She continues for a moment and then encourages another audience member to add an object or thought. Somehow she is always able to wrap up the story—no matter how silly it is—and bring out a heartwarming lesson.

Storytelling games can be part of the performance itself with amazing results.

Gain insight for in-process stories
Sometimes you get stuck on a story. Maybe you have an idea for the beginning. Maybe you have an idea for a character. Whatever the case, you are stuck and it seems like the story will never come to full fruition.

If this is so, then call up some people to play some storytelling games. Connecting with the local storytelling guild may be best. Otherwise, round up some of the neighborhood kids. You could choose a game that happens to involve the setting, the characters, or the plot of your in-process story. See how the others respond to the situation. You may have 27 different versions by the time you are done playing the game, but at least you have options.

As a writer can get writer’s block by staring at a blank page, so can a storyteller get storyteller’s block by working on a story with an empty mind.

Build leadership and speaking skills
Once you know some storytelling games, then next you need to explain the directions to the participants in clear and expressive ways.

There has been several times when I thought I was clear in explaining the rules of a game. Afterwards, I would see scrunched faces of confusion or sometimes hear the occasional “Huh?” or “What?” Another sign of miscommunication is when no one does anything after announcing, “Go” or “Begin.” Quickly, I have learned that demonstrating a part of the game improves the understanding of how to play for everyone.

Create a chance to laugh
Above all, play storytelling games for amusement. Technically, there are no “mistakes” that can be made during games—only fun, healthy moments.

I say “healthy” for good reason. You have heard, “laughter is the best medicine?” Whenever you think something is funny or when you laugh, there is certain saliva formed in your mouth. Inside this saliva are bacteria-fighting specimens. As you swallow this saliva, you are able to combat illness and reduce stress.

Laughter is also a good form of exercise. Ten minutes of rigorous laughter equals ten minutes of rowing. After playing 30 minutes or so of games, you may have reached a total of ten minutes of laughter so to qualify for your daily workout.

Some Games to Try:

Carry On
Form a circle, ideally with everyone standing up. One person decides on an imaginary object to pass to the person next to them. This “object” is passed from person to person in the circle. Some examples are a stinky sock, a fragile lamp, a bowling ball, and a lizard. When the “object” is passed back to the leader, then choose a different item.

***Variations: Try this same game with or without sounds. Have the leader rotate so several or all people have a chance to suggest something to pass around the circle.

A Big Yarn
Form a circle. Take a ball of yarn and have it wrapped around each person in the circle one time. Everyone will be connected in this way. The person with the end of the yarn becomes the leader and starts the story. While telling the story, the leader takes the yarn and rewraps the yarn until it is passed to the next person. Then the next person picks up the story from where the other one ended. Continue the story until the yarn is all rolled up.

***To help the leader, ask for suggestions of a setting and some characters from everyone. You may also determine certain code words that trigger a response from everyone in the circle. For example, if ever someone telling a story says “food”, all could respond with “mmmmmmmmm, food!” or whatever reaction tickles your fancy.

Hitchhiker
Set up four chairs with two chairs behind the other two. These chairs represent a car. All four chairs are filled with “passengers”. Determine who is the driver. Everyone in the car talks to each other to reflect a certain emotion already picked out. A fifth person is the hitchhiker. When the hitchhiker sticks out his thumb, the “driver” slams on the brakes (sound effects are encouraged). The driver is bumped out of the car, everybody rotates a chair, and the hitchhiker occupies the remaining open chair. The hitchhiker puts on a different attitude than the other passengers. As the hitchhiker continues the conversation, the other passengers reflect their speech of whatever emotion the hitchhiker is doing. Eventually, another hitchhiker comes along and sticks out his thumb. The rotation continues.

***Some emotions that may be fun to do: surprise, grumpiness, exuberance, sorrow, etc. This could also be a chance to improve vocabulary. An extra rule may be to add certain words that must be used during the conversation though said in such a way to flow with what the other passengers are saying. These words could change per rotation.

Freeze!
Form a circle, ideally with everyone standing up. Have two people in the center of the circle with each of them in a different position such as being down on one knee, having both arms in the air, hands on hips, etc. The audience suggests a setting. The two people unfreeze from their positions though, at the same time, gaining inspiration of their mood and emotions from each other. The two people act out a scene together until anyone from the audience shouts, “Freeze!” When called, the two people freeze in whatever positions they are in at the moment. Then the caller takes one of the two frozen positions, thus having one person return within the circle of the audience. A new setting is called out. Another scene is acted out and continues until someone else shouts, “Freeze!”

***Some people prefer to have a list of 20 or more ready-made positions. A person could choose a number that would relate to a position.

The Typewriter (or The Computer?)
Someone pretends to type on a typewriter. The typewriter starts the story. For each character or object the typewriter mentions, a person from the audience jumps out and plays the character or object. The characters/objects members listen to the writer’s story and act it out, but the writer must also listen to the characters/objects when they add their own dialogue.

***If you have people who are shy to jump in as a character/object, then have everyone but the writer line up. You could serve as the facilitator and silently point someone on the stage with the writer when you hear a character/object mentioned.

First and Last
Gather 20+ children’s books at the library. Write down the first sentence of each of the books on individual slips of paper. Each slip is placed in hat. Then write down the last sentence of each of the books on individual slips of paper and place in second hat. Have one person draw one “first sentence” and one “last sentence” from each of the hats. Give no more than 10 seconds for the person to tell the impromptu story. Watch them attempt to connect the first and last sentence in a comprehensive story. Be prepared for many laughs!

***You may choose for everyone to know what sentences the person drew or it could be kept a secret.

If you enjoyed this blog, you may also want to find more games in my entries "Ancient Civilizations: Story Standards from Then to Now" as well as "Imagination: 2 Ways to Zap Creativity into Kids".

May life be one grand game for you.

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/

Ancient Civilizations: Story Standards Then to Now

China, Egypt, Greece, India, and Mesopotamia are places that are rich in storytelling. You may discover the storyteller’s role in each of these cultures while simultaneously meeting curriculum standards of the geographic, political, economic, religious and social developments. You can appreciate stories in any time period.

Please note that these games are part of a larger workshop I lead under the same title of “Ancient Civilizations: Story Standards Then to Now”. Rather than the usual article, I have listed storytelling games easily adaptable to Ancient Civilizations studies. At the end are some references to stories.

A new tradition for this blog will be the "Question to Ponder" so as to inspire more conversation about the subject. Feel free to post your own questions and answers.

Question to Ponder:

How can one weave cultural elements into a story so as to be educational and entertaining at the same time?

Six Storytelling Games/Activities:

1. Your House vs. Their House (can also be applied to Neighborhoods)

• Give blank paper to each student so to draw his or her house as if someone tore off the roof and looked inside.
• Each student has a partner and gives a “tour” of the house. Encourage all to share moments that may have happened in the rooms.
• After this warm-up, ask them to draw a Greek home or provide a ready-made drawing of a Greek home.

Usually 2-3 rooms built around open air courtyard

Built from stone, wood, or clay bricks

Larger homes had kitchen, room for bathing, men’s dining room, women’s sitting area

Life centered around the courtyard such as to gather to tell stories, relax, chat, sew, cook

• Ask the students to give a “tour” of this Greek home as if they lived there.

***Many storytellers use this type of activity for workshops such as Karl Behling and Kevin Cordi. My spin on this game is to apply it to what homes from other cultures may be like.

2. Noun Nonsense

• Provide copies of a story from the culture so the students can read the story to themselves. Upon the second reading of the story, ask the students to highlight any nouns within the story.
• Ask the students to expand the current story by adding more social, political, geographical, religious, or economical details to the highlighted nouns.

3. Mixed-Up Mayhem

• Set aside a bowl for each of the following categories or create your own: Status, God of Choice, Daily Activity, Place, and Object. Note that these reflect social, political, religious, geographical and economical areas.
• On slips of paper, write a word and place in the appropriate bowl. For a Greek game, here are ideas of what you might put in each bowl—

Status—Rich, Middle Class, Poor, Slave

God of Choice—Zeus, Hera, Athena, Hephaestus, Ares

Daily Activity—Farming, Sailing, Hunting, Wrestling, Attending Wedding, Running Household, Going to School

Place—Athens, Sparta, Mediterranean Sea

Object—Lyre, Flute, Petasos (broad-rimmed hat), Metal Headband, Tunic, Hairpins, Rattle, Little Clay Animals, Yo-yo, Terra-cotta Dolls, Pet Goat, Pet Mice

• Have students pull a paper from each of the bowls. Create individual or group stories that connect each of the items drawn. Be prepared for stories to go in any direction as long as all words are used.

4. Sayings in the Pocket

• Gather proverbs from the country and/or create sayings that could have been said during that time period at home, work, school, etc. Give a copy of all these proverbs/sayings to the students.
• Take your copy of these sayings and cut them up so that there is one saying on each slip of paper.
• Create the setting for the story with students suggesting people, a place, and a crazy problem. Have two or more students act out and create the story from the suggestions. When you ring a bell, have one of the students pull a slip of paper, read the saying, and have the story twist in another direction. Students will need to be familiar with what the saying means so that they can use cultural knowledge to make a great story.

5. Circle Story

• Provide a cultural vocabulary list. Explain that there will be a game the next day based on these terms.
• When the students have had time to study (or even a couple minutes at the beginning of class to review), have everyone sit in a circle.
• You start a story set in that culture and use one of the vocabulary words. The student to your right continues the story using a different vocabulary word. The story goes to each of the students until all vocabulary words are used. This game is important that the student knows the words as well as how to use the word in a sentence.

6. Senses Gone Sour

• Tell a story from the culture. Then ask students to brainstorm on what could be found in the culture using the Five Senses: Sight, Smell, Hearing, Touch, and Taste.
• Ask for volunteer to be blind, deaf, or mute. Have that student tell the story using the senses still available to a blind, deaf, or mute person.

REFERENCES FOR ANCIENT CIVILIZATIONS STORIES

China

Barchers, S. I. (1990). Wise Women: Folk and Fairy Tales from around the World. Englewood,

CO: Libraries Unlimited.

Caduto, M. J. (1997). Earth Tales from Around the World. Golden, CO: Fulcrum Publishing.

Climo, S. (2005). Monkey Buisness, Stories from Around the World. New York City: Henry Holt and Company.

Collier, I. D. (2001). Chinese Mythology. Berkeley Heights, NJ: Enslow Publishers.

DeSpain, P. (1993). Thirty-Three Multicultural Tales to Tell. Little Rock, AR: August House.

DeSpain, P. (1979). Twenty-Two Splendid Tales to Tell from Around the World: Vol. 2. Little

Rock, AR: August House.

Forest, H. (1996). Wisdom Tales from Around the World. Little Rock, AR: August House.

Forest, H. (1995). Wonder Tales from Around the World. Little Rock, AR: August House.

Hamilton, M. & Weiss, M. (1999). How & Why Stories, World Tales Kids Can Read & Tell. Little Rock, AR: August House.

Holt, D. & Mooney B. (1994). Ready-to-Tell Tales. Little Rock, AR: August House.

MacDonald, M. R. (1992). Peace Tales: World Folktales to Talk About. Hamden, CT:

Linnet Books.

Medlicott, M. (1992). Tales for Telling from Around the World. New York City:

Kingfisher Books.

Sierra, J. (2002). Can You Guess My Name?. New York City: Clarion Books.

Yolen, J. (2003). Mightier than the Sword, World Folktales for Strong Boys. Orlando,

FL: Harcourt.

Egypt

Caduto, M. J. (1997). Earth Tales from Around the World. Golden, CO: Fulcrum Publishing.

Climo, S. (1989). The Egyptian Cinderella. New York City: HarperCollins.

Greger, C. S. (1996). Cry of the Benu Bird, an Egyptian Creation Story. New York City: Houghton Mufflin.

Grindley, S. (1997). Breaking the Spell, Tales of Enchantment. New York City: Kingfisher.

Harris, G. (1992). Gods & Pharaohs from Egyptian Mythology. New York City: Peter Bedrick Books.

Holt, D. & Mooney B. (1994). Ready-to-Tell Tales. Little Rock, AR: August House.

Nardo, D. (2001). Egyptian Mythology. Berkeley Heights, NJ: Enslow Publishers.

Greece

Barchers, S. I. (1990). Wise Women: Folk and Fairy Tales from around the World. Englewood,

CO: Libraries Unlimited.

Condos, T. (1997). Star Myths. Grand Rapids, MI: Phanes Press.

DeSpain, P. (1993). Thirty-Three Multicultural Tales to Tell. Little Rock, AR: August House.

Forest, H. (1996). Wisdom Tales from Around the World. Little Rock, AR: August House.

Forest, H. (1995). Wonder Tales from Around the World. Little Rock, AR: August House.

Holt, D. & Mooney B. (1994). Ready-to-Tell Tales. Little Rock, AR: August House.

Hamilton, M. & Weiss, M. (1999). How & Why Stories, World Tales Kids Can Read & Tell. Little Rock, AR: August House.

MacDonald, M. R. (1992). Peace Tales: World Folktales to Talk About. Hamden, CT:

Linnet Books.

Hebrew

Caduto, M. J. (1997). Earth Tales from Around the World. Golden, CO: Fulcrum Publishing.

DeSpain, P. (1979). Twenty-Two Splendid Tales to Tell from Around the World: Vol. 2. Little

Rock, AR: August House.

Forest, H. (1996). Wisdom Tales from Around the World. Little Rock, AR: August House.

Forest, H. (1995). Wonder Tales from Around the World. Little Rock, AR: August House.

Gerstein, M. Queen Esther the Morning Star. (2000). New York City: Simon & Schuster Books for Young Readers.

Holt, D. & Mooney B. (1994). Ready-to-Tell Tales. Little Rock, AR: August House.

Yolen, J. (2003). Mightier than the Sword, World Folktales for Strong Boys. Orlando,

FL: Harcourt.

India

Barchers, S. I. (1990). Wise Women: Folk and Fairy Tales from around the World. Englewood,

CO: Libraries Unlimited.

Caduto, M. J. (1997). Earth Tales from Around the World. Golden, CO: Fulcrum Publishing.

Climo, S. (2005). Monkey Buisness, Stories from Around the World. New York City: Henry Holt

and Company.

DeSpain, P. (1993). Thirty-Three Multicultural Tales to Tell. Little Rock, AR: August House.

DeSpain, P. (1979). Twenty-Two Splendid Tales to Tell from Around the World: Vol. 2. Little Rock, AR: August House.

Forest, H. (1996). Wisdom Tales from Around the World. Little Rock, AR: August House.

Forest, H. (1995). Wonder Tales from Around the World. Little Rock, AR: August House.

Grindley, S. (1997). Breaking the Spell, Tales of Enchantment. New York City: Kingfisher.

Hamilton, M. & Weiss, M. (1999). How & Why Stories, World Tales Kids Can Read & Tell. Little Rock, AR: August House.

Holt, D. & Mooney B. (1994). Ready-to-Tell Tales. Little Rock, AR: August House.

MacDonald, M. R. (1992). Peace Tales: World Folktales to Talk About. Hamden, CT:

Linnet Books.

Medlicott, M. (1992). Tales for Telling from Around the World. New York City:

Kingfisher Books.

Mesopotamia

Barchers, S. I. (1990). Wise Women: Folk and Fairy Tales from around the World. Englewood,

CO: Libraries Unlimited.

Climo, S. (1999). The Persian Cinderella. New York City: HarperCollinsPublishers.

Caduto, M. J. (1997). Earth Tales from Around the World. Golden, CO: Fulcrum Publishing.

DeSpain, P. (1979). Twenty-Two Splendid Tales to Tell from Around the World: Vol. 2. Little

Rock, AR: August House.

Forest, H. (1996). Wisdom Tales from Around the World. Little Rock, AR: August House.

MacDonald, M. R. (1992). Peace Tales: World Folktales to Talk About. Hamden, CT:

Linnet Books.

Phelps, E. J. (1981). The Maid of the North, Feminist Folk Tales from Around the World. New

York City: Henry Holt and Company.

Shepard, A. (1999). Forty Fortunes, a tale of Iran. NewYork: Clarion Books.

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/

Kickstart Your Creativity with Cherie Davis

Whether you are an outrageously innovative person or whether you think you have humdrum ideas, there is always room for more creativity.

Confession: I thought I knew most everything about creativity until I attended the “Kickstart Your Creativity” workshop conducted by Cherie Davis at the 2007 Utah Story Swap held in St. George on May 5, 2007. She showed me how to transform my chaotic creative experiences into a more organized way.

Davis emphasized four skills found in Robert Epstein’s The Big Book of Creativity Games:

1. Capturing—Preserve new ideas
2. Broadening—Broaden skills and knowledge
3. Challenging—Seek challenges and manage failure
4. Surrounding—Change physical and social environment

Capturing—Preserve new ideas
Sometimes it seems that ideas can appear as easily as dandelions. Sometimes it seems to be a drought for ideas. Yet, Davis insisted that regardless of how many ideas seem to be around at the moment, having a notebook close by could do wonders.

When searching for potential stories, Davis shared that some people turn to dreams and keep a notebook close to the bed while ideas are still fresh enough to write. She also suggested keeping an itty-bitty notepad in the pocket for random thoughts as done by National Storyteller/Grammy-winner Bill Harley. Beyond writing, some people type ideas on the laptop or computer or there are traditional recording devices such as mp3 players and video cameras.

Broadening—Broaden skills and knowledge
The more experiences you have, then the more ways you can look at an idea. You may take the advice from Davis to “be a bricklayer for a day.” Perhaps there is an occupation that a character portrays in the story and you have a chance to learn some skills. Or at least you can envision what it would be like from a different perspective. Davis recommended telling a familiar fairy tale in another way and divided us in pairs. I told “Jack and the Beanstalk” from the giant’s viewpoint while my partner told “Cinderella” from the slipper’s viewpoint. Our ideas fed off from each other and brought more excitement than if I had done this same activity alone.

Challenging—Seek challenges and manage failure
As Davis reminded us, “Failure can be the greatest teacher—our friend.” Davis invited some people to share an impromptu story based on a proverb, which mine was a Dutch saying of “Nobody’s sweetheart is ugly.” In the short time we were given to create a story based on the proverb, I had two versions—one about two rabbits and one about newlyweds. My partner volunteered me to tell in front of the group. Though the story was still in “rough and tumble” stage, I met the challenge. I now have ideas on how to polish the story.

Surrounding—Change physical and social environment
Certain surroundings encourage more creativity than others. These factors vary from individual to individual. Davis asked us to ponder on what rooms distract us versus what rooms inspire us. If no room or place comes to mind as writer-friendly, then she urged us to make it friendlier. Perhaps rearranging the furniture would do the trick. Perhaps playing some music would help. Perhaps silence is preferred.

Throughout the workshop, we did several partner activities/games. Davis reminded us “you cannot expect one person to be the perfect buddy”. You may need a buddy for areas such as story creation, performance, and even organization.

To know more about the activities used during the workshop, myths on creativity or common traits of creative people, then contact Cherie Davis at (801) 226-6530 or at cherie@cheriedavis.com.

Recommended References/Websites:

Collins, R. & Cooper, P. J. (1997). The Power of Story: teaching through storytelling (2nd ed.). Scottsdale, AZ: Gorsuch Scarisbrick Publishers.

Epstein, R. (2000). The Big Book of Creativity Games. New York: McGraw-Hill.

Story Arts Online at http://www.storyarts.org/lessonplans

Bill Moyers—especially video series on creativity at http://www.pbs.org/moyers/journal

Until we tell again,

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

Imagination: 2 Ways to Zap Creativity into Kids

Zap! Click! Are those sounds heard in your living room as the children flip through television channels?

If your answer is yes, then your home is not the only one with these noises.

We are in a media-oriented age. Though we have gained much knowledge from technology, one thing that we are losing is our imagination.

A Kindergarten teacher recently invited me to tell at her school this December. She remembered decades ago when radio programs were popular and she could create images in her head from the stories. The narrator introduced characters and settings in such a way that one listener may see a brown-eyed heroine in their mind while another person may see a blue-eyed heroine. She expected children listening at a storyteller’s feet would have the same affect as the radio program.

Besides this teacher, even children are recognizing that something fading from their minds. While in the theatre watching a movie based on a book, a child sitting next to me said, “The movie ruined the picture in my head. I can’t remember the picture anymore.” I waited to hear the dad respond, but he said nothing.

Parents, teachers, and adults can direct children in certain activities, such as the two I suggest, so that statements of lost imaginations disappear.

1. Play Storytelling Games
2. Share Bedtime Stories

Play Storytelling Games--

Stretch the dormant imagination muscles in the mind through active games. A storytelling game promotes creativity and develops speaking and/or listening skills. A video game tends to lack these elements.

Some exciting games can be found in “Raising Voices: Creating Youth Storytelling Groups and Troupes” co-authored by Kevin Cordi and Judy Sima. One example is “Academy Awards Acceptance Speech”. Haven’t we all wondered what we would say to millions of people when we received “Best Picture”? Now you do not have to wait for that moment.

The parent can call out their child’s name, mention which Academy award was given. You can even make it more realistic by having an envelope and maybe even a trophy. The child walks to the front of the room, and then is directed on how to react. Emotions of happiness, surprise, or even sadness could be suggested. The child gives a short speech of why it was an honor or who inspired them. The parent must remember to applaud afterward. Then the parent and child can switch roles.

Many more games are in the book that will work for different ages. Though I find games that engage elementary-aged kids will amuse college students and so on. Storytelling games were almost always played at our weekly gatherings for the Brigham Young University Storytelling Club. I noticed that our shy members at the beginning of the semester soon became more expressive by the end of the semester.

Play hard and play often. The youth you see with me at the top of this message are ones who know how to have fun through use of use gestures, facial expressions, and body language. Anyone could get a physical as well as a mental workout. Can television offer such a reward?

When night comes, your imagination will be warmed up through playing games that the next step of telling bedtime stories will be easy.

Share Bedtime Stories--

Reading books to children is important though I encourage you to tell stories without the books every so often. If you are unsure what to tell a story about, then ask questions that the children answer.

A dialogue could go something like this--

Parent: Once upon a time there was a what?

Child: Uh, a princess.

Parent: Okay, so once upon a time there was a princess who liked to. . .(while looking at the child)

Child: She liked to blow bubbles.

--and so on and so forth.

As you get more practice, then you can do what I like to do. I ask for three things/nouns the listener wants in the story. My college roommates would ask for bedtime stories and I honored their requests. One night they wanted a story with the following: prince, princess, and flying carpet. I could have easily told “Aladdin” though I decided to have fun, take risks, and tell a story from the flying carpet’s point of view.

Regardless of how you tell the stories, you will find these moments precious. I recommend you write at least some of these creations, if not all, for family history before you fall asleep that night.

The two steps of playing storytelling games and sharing bedtime stories will succeed when you are involved. Though a child may play games on their own, they will not be as excited as when you join them. When it comes to bedtime stories, you act as a model of how to expand the imagination.

Zap! Click! These can be sounds heard within your child’s mind as creativity sparks and stories form.

Until we tell again,

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