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

Thursday, July 15, 2010

Creating a Youth Storytelling Community One Kid at a Time


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

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

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

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

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

To create a youth storytelling community, you will need to:
  1. Build an Event for Youth
  2. Develop Reunions and Gatherings
  3. Promote Storytelling Games and Fun
Build an Event for Youth
Expand your mind as to what could be considered an event such as a: party, social gathering, house concert, library activity, school assembly, campus celebration, civic meeting, contest, festival, etc.

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

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

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

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

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

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

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

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

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

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

A reunion need not be an expensive affair.

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

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

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

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

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

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

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

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

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

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

So what are you waiting for?

Your youth storytelling community may have the population of one.

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

Until we tell again,

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

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

Tuesday, September 15, 2009

"Look it up!": New Words in Storytelling & the Arts

The global storytelling movement for the past 40 years has brought new words to the art.

Sometimes, these words are shared for hopes of protologism, in which the creator of a new word or phrase is desirous for it to be accepted within the art community or beyond.

For the storytelling community, the word seems to be "accepted" when included or in relation with events such as the National Storytelling Conference or the National Storytelling Festival. There are moments when words, not meant to be used more than the one time, take flight and land in other areas across the world.

Here are some neologisms for our art--
  • Urban Storytelling/Word Artists/Spoken Word--The term "urban storytelling" has become popular mostly due to The Moth, a New York City-based nonprofit at The Players Club. At this place, people from the community are guided by an artistic director to find the essence of a dramatic personal experience and make it presentable for the public. The themes of urban storytelling tend to be edgy and on the rebellious nature for whatever may be on the social agenda at the time. Sometimes the words and images chosen seem raw or violent. The word "spoken word" could be applied, though this term has different meanings depending on the region or intended audience. In the 1980s, the term "spoken word" was adopted by academia in an effort to categorize word-based performance as opposed to established areas of art like music, theatre, and dance.
  • Poetry Slam/Story Slam--Storytelling and poetry have existed for centuries and now these art forms have evolved into something more intense and lively. Story slams and poetry slams outreach mainly to high school students and college-aged adults, though all ages, cultures and races participate. The key components of a slam--poetry or storytelling: anyone could share poem/story; no props or costumes; about five judges from the audience and/or pre-determined panel; time limit (3 min. for poetry, 5 min. for story); and the importance of audience reactions. The event usually has three rounds of about 7-10 artists, with a different artist to be "sacrificial". The audience is taught to boo and hiss as well as to applaud. Heckling is encouraged. This world is highly competitive. The National Storytelling Conference had its first Story Slam in 2008. You can learn more about slams at my blog.
  • Anti-Slam/Art Stars--With all the booing and hissing from slams, then this movement of "anti-slam" came along. Usually that is how it works. For every trend there is a counter-trend. Reverand Jen Miller developed a poetry slam and created the venue called "Collective: Unconscious" and premiered on October 17, 2007. Every week the performers are called "art stars". Though the performers are given boards that show 1-10 numbers, the purpose is for the panel of "judges" to all give "10"s, thus calling each participant a winner. Performing arts could range from stand-up comedy to fiction to commentary to poetry and even rants. Author John S. Hall said of this movement, ". . .where everybody gets a ten. In a sense, that's kind of like the opposite problem [to slams], which is that you're saying there are no winners or losers at all. And even at an open reading, there are winners and losers, but it seems less stratified and controlled and gamed."
  • Tridem--This term was coined by Elizabeth Rose, director of the National Youth Storytelling Showcase, in 2007. Although the showcase asked for auditions for solo and tandem storytellers, she would also receive entries with three storytellers telling one story. Though the word "tandem" is still used as the category title, the word "tridem" was needed to be more specific in the kind of storytelling taking place. This term has spread to other youth-oriented storytelling events such as the Weber State University Storytelling Festival where over 70 youth tell stories alongside national and regional storytellers. The new audition page on the website has been clarified to say that the event looks for solo, tandem, or tridem performances.
  • House Concerts/Backyard Concerts--Although musicians, singers, and comedians have used houses as venues for their work, this have been a new term amongst the storytelling community in the past couple years. One of the 2009 Storytelling Magazine issues spotlighted this type of event featuring Dan Keding and Rivka Willick. Other storytellers who have benefited from these events are Priscilla Howe and Tim Ereneta. A host, sometimes the same person as the storyteller, invites friends and family to their house. Depending on the weather, the event could be inside or outside. Some of these concerts are ticketed while some are offered free. The artist could be testing material or may give polished performances of the same level as any paid venue. The Utah Storytelling Guild will launch and sponsor House Concerts as part of their membership's professional development series in Fall 2009. The participating storytellers must have completed at least five practices with specific audiences. The storytellers will tell for free, but will be allowed to sell merchandise.
  • [Here]Say/[Murmur]--Yes, the brackets are important if you want to refer to the community-based storytelling occurring in some downtown areas. The use of [here]say is the play on the word "hearsay", which means "scuttlebutt or gossip". In the storytelling sense, [murmur] is a pioneering mobile-based oral history documentary project which started in Toronto, Canada. Out from [murmur] came [here]say, which are community-based oral history documentary projects. Often these two programs are thought as story maps. For example, a person may see a sign in the downtown area to call a certain number to hear a story about that part of town. More signs would scatter along the street to have an experience like an art walk. What started in Canada has now become popular in the United States. You can read more about them here. Or should I say hear?
  • Second Life/Storytelling Guild of Second Life--This refers to a virtual world developed by Linden Lab on June 23, 2003 and not a second chance at life. Or is it? Second Life (SL) can be accessed through the Internet where people could create an avatar/character to look like them or look however they want. These avatars are often called "residents" and socialize with other "residents". This is for ages 18 and older, though there is now a Teen Second Life for 13-17-year-olds. People could own virtual property and places. For example, storyteller Dale Gilbert Jarvis created the virtual place for the Storytelling Guild of Second Life. There are regular storytelling events streamed lived where avatars gather. If you want to read about my experience with Second Life, then read it here.
  • UnFestival/UnConference/Open Conference--These are kinds of event where audiences "vote with their feet". Rather than the festival or conference where the audience is expected to arrive and leave sessions when scheduled, the audience is given permission to come and go as they feel the need. The presenters accept this fact. This eliminates the need for time limits on stories. Anyone could be the storyteller, presenter, or speaker. The term "open conference" is the more common term and derives from the adjective "opensource" that means "public access and community development". For the storytelling community, these terms were shared often due to the decision by the National Storytelling Network to not have an annual conference in 2009. Rather, this year became known as the "Year of the Regions" as NSN combined efforts with regional storytelling conferences in sponsorship. Some storytellers resisted the break in tradition and proposed having unconferences. Read more about these terms at Tim Ereneta's blog here.
  • Open Space Technologies/Brain Trust Sessions--A facilitator guides a group of people to briefly share the theme of the gathering. People announce what topics are of most interest to them. These ideas are listed on a piece of paper or board for the improvised agenda. The person suggesting the topic would be expected to lead the discussion when people can decide what room to go for the discussion. When all ideas are listed, then discussions ensue and people attend whichever ones they wish. The attendees organize the action. At the end of each session, someone reports what was expressed within the group. The report is then recorded and and becomes available to anyone. OSTs actually came into being 1985 by Harrison Owen. For the storytelling communities, Brain Trust Sessions occurred for the first time at the 2008 National Storytelling Conference. One room was used, though a couple sessions took different corners of the room so many topics could be discussed in small groups at the same time.
  • Storytelling Elitism--Storyteller Marilyn Hudson coined this phrase in 2008 after what she saw happening with the Oklahoma Tellers. In this case, the elitist could be the person who hires the storyteller or could be the storyteller himself. The elitist is the person who "sees only one type of storytelling as 'true storytelling' (theatrics vs. traditional, for example)." The organizer or the teller may see one style and may want to imitate only that style at the event. This causes difficulty for new tellers or lesser-known tellers to grace the stage. For more of Hudson's views, you can go here.
  • Festival-Worthy/Festival-Ready--When storytellers submit promo materials or audition items for storytelling festivals, then they are hoping to be "festival-worthy". This term is used most often for the National Storytelling Festival as well as for the Timpanogos Storytelling Festival due to the prestige associated with these events. I have heard the term "festival-ready" by Kathy Palermo, one of the directors of the Arne Nixon Student Storytelling Festival. Since Palermo teaches a storytelling class at Hanford High School in California, she has her students perform for this event. The students divide into several classrooms with a professional storyteller in each room to act as mentor/judge. The professional storyteller choses which students could tell later that afternoon and are then deemed "festival-ready". This phrase is even written on the ballot sheets. The afternoon is open for the public and not all youth are expected to be chosen to share their stories. However, all youth do receive certificates.
  • New Voices--These storytellers are in the 18-30-year-old range. Due to the small numbers of this generation in the storytelling community, some people consider age 35 to be part of this discussion group within the National Storytelling Network. This group formed at the 2005 National Storytelling Conference in Bellingham, WA. The "new" part of the name refers to the ages and not necessarily to their amount of experience with the storytelling art.
  • YES! (also known as Youth, Educators, and Storytellers Alliance)--The name for this organization was voted into place by people within the Youth Storytelling special interest group merged with the up-and-coming Educator special interest group of the National Storytelling Network at the 2005 National Storytelling Conference. The NSN Board encouraged the groups to merge due to some overlapping goals. The exclamation point was a key part of the name and represents "alliance". The name was also chosen to answer the question, "Storytelling in Education? YES!".
  • Edu-tainment--This word combines the words "education" and "entertainment". Storytellers wanting to promote both elements in their program told sponsors that they had "edu-tainment" value. Some storytellers are offended if their stories are only considered entertainment or "full of fluff".
  • Sense Presence--This term was coined by storyteller Bill Harley. The word is a combination of "stage presence" and "senses". The storytelling community often talks about "The Triangle" in that the three important relationships in the storytelling: teller to story to audience. Harley said that "sense presence" was when a storyteller did a perfect melding of these relationships in which the right story was told to the right audience by the right teller. A teller may not feel "sense presence" after every performance or even from a story that received that feeling before. It was something to strive for each time a storyteller went on stage. Harley predicted that these sense presence moments were rare despite someone's experience with the art.
  • Storetry--This word combines "story" with "poetry". My first encounter with the word was when Mitch Capel (a.k.a. Gran'daddy Junebug) labeled his style as "storetry" at the 2007 Timpanogos Storytelling Festival. All his stories/narratives were recited with rhythm and rhyme. I have since seen a book named Storetry by Allan Williams and published by RoseDog Books.
  • Citizen Journalist/Public Journalist/Street Journalist--Anyone can post news online and be their own journalist through tools like blogs, Facebook, and Twitter. This movement started around 1988 and has exploded due to people being able to go on the Internet from home or on their cell phones. These terms are not to be confused with "community journalist" or "civic journalist", who are considered professionals. Several storytellers write regular blogs so to join the citizen journalist force. From the seminal 2003 report We Media: How Audiences are Shaping the Future of News and Information came the statement that these journalists are "playing an active role in the process of collecting, reporting, analyzing and disseminating news and information."
  • Ezine--This is the back-formation of Ezine Articles. Writers are able to write about their expertise and become featured at EzineArticles.com. This site has a searchable database that make it possible for people to ask permission of the writers to add these articles to their own newsletters. In a content-driven world, this service is invaluable. Anyone could submit articles, but there are guidelines and all articles are proofread before posting online. Some storytellers have received offers for performances or presentations due to the articles posted at this site.
  • iTales.com--Like iTunes.com is geared mostly for music, the iTales.com site is where people can find stories available for download at similar fees. The "i" refers to "Internet". These audio stories could be placed on your computer, mp3 player, iPod, or on a CD. Storytellers receive a commission on any of their stories sold at this site.
  • Digital Storytelling/Web-based Storytelling/Hypertexts/Narrative Computer Games--These terms are still being figured out, though, at this time, they refer to using the Internet or computer software to create visual and/or audio ways to share true stories of one's life. The main focus is to share it in an engaging way that involves the emotions. Most of these stories are less than eight minutes long. One of the most popular places that uses these forms of storytelling is the Center for Digital Storytelling in San Francisco.
  • YouTube Storyteller--This phrase was likely coined by storyteller Tim Ereneta. On YouTube, he created a "channel" or group within YouTube called "The Ancient Art of Storytelling". People could submit their videos to this channel if they were performance storytelling pieces. Some people submit stories only online rather than going about the world as professional storytellers. Thus, they could be called "YouTube Storytellers". There are also storytellers who have over 20 videos of stories on YouTube and could also qualify for this term although no number has been set for who would be a YouTube teller. Perhaps if you at least have one, you can join this family!
  • Fringe Teller--This phrase, like "YouTube Storyteller", was most likely created by storyteller Tim Ereneta. This may have been the shorter way of saying "a storyteller who performs often at fringes". A fringe is a festival-like atmosphere that allows people to apply for a slot. The person could use the average of 55 minutes in whatever way he wishes. There are adult content warnings listed, if applicable, so the audience member could decide on their attendance. Most fringes gear for adults though there are specific family-friendly ones. Common artists found on the fringe circuit are musicians, comedians, and actors. As more and more storytellers are looking for alternate venues, the fringe has been a welcoming place. Any performing artists must pay for their own advertising, but they are still linked to a specific fringe.
  • Masterminding--This is a verb created from the noun of "Mastermind Group". Sean Buvala has popularized this term in the storytelling community. A Mastermind Group is a bunch of people all committed to improve as individuals in their industry. The group often meets in-person, by telephone, or through online methods to "check-in" with each other and keep everyone accountable for their individual goals often involving the marketing and/or development sides. The group may all be storytellers or the group may be a mix of business men from all backgrounds.
  • Shout Out--Several storytellers have labeled blog posts with "Shout Out" when they want to promote an individual, company, or idea. This term is a sign of respect and is synonymous to the phrase "giving props". The phrase emerged in 1990 with rap artists and has finally caught on in the last year with storytellers. Sometimes game show hosts have used the term when contestants have family in the audience so there could be a "Shout Out" to them.
  • Storytelling Tourism/Storytelling Tourists--This is the act of gathering a bunch of people to travel to another place--most likely a foreign country--to delve into that place's take on storytelling. The "tourists" are usually storytellers who combine their skills with the storytellers of the area visited. There is then a cultural exchange of ideas and techniques. The most famous of these tours are organized by Eth-Noh-Tec, a storytelling husband and wife team. Each year tends to rotate between India and China with the tourists coming from the United States.
Please share any words that you have heard within the storytelling community. . .or ones about to emerge.

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, August 15, 2009

Storyteller as Yarnspinner: 6 Reasons Why We Weave Sewing Terms in the Art


A storyteller adopts the imagery of weaving stories together whether or not there is a love of sewing fabric.

Why is that exactly?

Let us explore the terms we use to explain our art form inspired by the needle and thread.


First, a personal experience.

I took a sewing class during high school, but piecing together a dress was torture.
Instead, I was ready to weave stories during my World Literature class during my senior year.

I anticipated my senior year for many reasons, but one of them being the delving into Greek Mythology. Everyone knew about the Greek projects. We chose areas that interested us most in the culture, though some of us did whatever would be easiest to complete.

Most people created architectural miniatures of Greek homes, temples, or amphitheaters. As for me I was most interested in rhapsodes.

I do not remember how I came upon the word "rhapsode", but when I heard it, I could not let it go from my mind. Through the years, we had studied about Homer and with such epic tales as The Illiad or The Odyssey.

These tellers often sung their whole pieces so I knew I would need to sing the "Eros and Psyche" story to my classmates. I studied Greek music to get a feel for the common rhythms. Much of the tunes and words were improvised so I expected to do the same. However, I committed to memory key phrases and notes that would move the story along. I was dressed in Greek attire--of which I did not sew--and mentioned to everyone that I did not bring my lyre.

Funny enough, a lyre looks like a miniature loom.

The word itself, also known as rhapsoidein, meant in the Classic Greek language "to sew songs together" or "singer of stitched verse" or "sewer of formulas, lines, and scenes to share a performance".

Then, to add to this already visual way to think about storytelling, the rhapsode tended to carry a staff.

The staff was symbolic of the kind of staff a judge may hold. The audience saw this sign and knew that they had "a right to a hearing".

Though I have not seen any specific connection, the staff could even be like an enlarged needle to expand the sewing image.

Athena was a goddess over many things including weaving and sewing. You may recall the story of the weaving contest between Arachne and Athena. The lady Arachne has since been transformed into a spider as punishment for all the "bad" stories she wove onto her tapestries. The images showed each of the Olympian gods at a weak moment and Athena could not have those stories shared.

Besides Athena, Hermes was known for his stories. Interestingly, he carried a staff much like a rhapsode was expected to carry a staff. The staff is also a device used to herd sheep and goats. From these animals we get wool and thus the thread and weaving. Perhaps this was part of the reason he was known for his trickery and the telling of tall tales. He was a sewer of fabrications.

Even the word fabrication has the word fabric in it. Broken down even further, "fabula" is the Latin word for fable, story, or tale. The words themselves mean "the act of making" and has a female gender connected to the word. As women were often the ones sewing, weaving, and making cloth, the gender assignment makes sense.

Consider these other sewing phrases or words used in storytelling:
  • Spin a Tale/Weave a Tale/Spinster/Old Wives Tales--The sharing of stories often took place while woman gathered to take care of repetitious and monotonous jobs like spinning, weaving, and quilting. As these stories were often conversational and based on gossip, then the phrase "Old Wives Tales" came about. While a spinster was usually someone unmarried beyond the age expected to be married, then these women had more time to spin and thus more time to tell stories.
  • Text--Though we are an oral art, often times in history storytellers memorized or shared stories so as to be the text for the listeners. "Text" is short for "Textilis" or "Textiles". These words are Latin for "woven fabric". Robert Bringhurst, a Canadian poet, wrote, "An ancient metaphor: thought is a thread, and the raconteur is a spinner of yarns -- but the true storyteller, the poet, is a weaver. The scribes made this old and audible abstraction into a new and visible fact. After long practice, their work took on such an even, flexible texture that they called the written page a textus, which means cloth."
  • Red Thread/Golden Thread--This may be the part of the storytelling that links and weaves all else into something comprehensible and meaningful. In the European middle ages, the color of red is significant for it was once seen as a sign of wealth and status. Sometimes, only royalty could wear this color. The dye itself was hard to get as it had to be dark enough. Curator Rebecca Stevens of the Textile Museum said, "People made their living trading this dye." It could also relate to the pleasing way red threads looked in a tapestry. Then, within the Chinese culture, you find the belief that when a child is born, there are invisible red threads that connect the baby to all the important people in their life of the past, present, and future. As a result, children have red thread tied around their wrists. Sometimes instead of a red thread it is known as a golden thread due to English influences. You may have read many stories of spinning straw into gold.
A bonus fun thought: A popular brand of sewing machine is known as "Singer". It seems we have rhapsodes still.

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

Sunday, March 15, 2009

Today's Bards & Seanachies: Irish Wisdom in Storytelling Techniques


Having the "gift of gab" by kissing the Blarney stone is not enough to be a storyteller. An Irish proverb says, "Time is a great storyteller."

The number of stories you know, the principles learned within them, and the time it takes to apply the principles can measure intelligence.

Whether bard or seanachie (pronounced Shawn-ah-key), both well-known Irish storytellers during the Celtic era, 300 or more stories were committed to memory and shared with village people to Gaelic nobility.

During that period, people respected the role of the storyteller.

Wise people today still do.

Nowadays we have professional storytellers, and perhaps you count yourself as one. Or maybe you love to tell tales around the kitchen table or at the workplace or around a campfire. Regardless of the "stage", you probably have characteristics similar to bards/filidh and seanachies.

Consider personal connections to the following--

Traits and Qualities of the Bard/Filidh:
  • 100% focused on the storytelling craft and supported by patrons
  • 12+ years of intensive training through expensive schooling
  • Skilled in storytelling, poetry, music composition, singing, and playing of at least one instrument--usually harp
  • Repertoire consisted of long stories that took two or more hours to tell and some that had to be told over the course of several nights
  • Learned stories, verses, histories, and genealogies
  • Upon graduation of training, then wore cloak of crimson and yellow feathers and carried a gold rod
  • Each year received 21 cows, food for himself and 20 attendants, kept 6 horses, 2 dogs, and immunity from arrest for any crime save treason and murder
Bard-Types of Today
We have few, if any, apprenticeships that would compare to the bardic schooling. However, many universities offer storytelling as a course and some places, like East Tennessee State University, have a complete Masters program. Some storytellers further their education by receiving doctorates in related fields such as Folklore or Theatre. (Click here for list of higher education programs.)

The National Storytelling Network has promoted apprenticeships through the creation of the J.J. Reneaux Mentorship grant.

Attending storytelling conferences and festivals are always places of learning. Some of the most popular are the National Storytelling Conference and the National Storytelling Festival. These kinds of events remind the storyteller of how many truly embrace the art.

You can see some of these tellers at listings like Storyteller.net, the Professional Storyteller social network site, and the National Storytelling Network directory. Some state guilds like the Florida Storytelling Association or the Utah Storytelling Guild have websites showing their members.

As for style, some tellers rely purely on the spoken word while others enhance their stories through song, music, or dance. There is not a right or wrong way.

Traits and Qualities of the Seanachie:
  • Most of his time focused on another occupation than storytelling though he told as opportunities came
  • Audience mainly composed of small and poor communities, which is why known as "village storyteller"
  • More affordable than bard and often told stories when a bard could not be secured
  • Some stayed in one location as a storyteller while some traveled and were paid in food and shelter
  • Keepers of the history and lore of a certain folk
  • Learned distinctive gestures to emphasize points in story
Seanachie-Types of Today
At times I have heard touring storytellers wish that they could stay in a place long enough to know their audience. Circuit and festival tellers are the "rock stars" of the art as they are most visible and celebrated by the media.

Some communities are realizing that their homes and neighborhoods are full of stories. It could be said they are searching for their seanachies to remember the folkways.

StoryCorps, a National Public Radio (NPR) initiative, was formed to "[create] an oral history of the United States using the stories of everyday Americans" with the help of two mobile recording studios traveling on a cross-country tour. The stories will be archived in the Library of Congress.

Then there is the [HEAR]SAY project at St. John's, Newfoundland of Canada, which is a pioneering project of story mapping through recorded oral histories. Signs are posted throughout streets and people can call the telephone number on the sign to hear the story connected to that area.

Arthur Rowan, who wrote The Lore of the Bard, said, ". . .if it is the myth and legends of the folk that you love, and your desire is to keep the magic of those traditions alive, then the way of the seanachie might be for you."

Storytelling Techniques through The Triads of Ireland:
Liz Warren, English and Storytelling Professor at South Mountain Community College in Arizona, stated, "The Irish Storytelling Tradition is one of the most thoroughly studied, documented and celebrated of any in the world."

In Summer 2008, Warren led a study abroad in Ireland on storytelling. Her syllabus online mentioned The Triads of Ireland, a collection of 214 Old Irish sayings that list three qualities at a time. The third item tends to be the climax or the anticlimax of the list.

Warren referenced three of those triads that relate to storytelling--
  • Three glories of speech: steadiness, wisdom, brevity
  • Three hateful things in speech: stiffness, obscurity, a bad delivery
  • Three things that constitute a poet: knowledge that illumines, knowledge of incantations, improvisation
Glories of Speech--(my interpretations)

Steadiness
This is not a common word that storytellers outside Ireland may choose to be important in storytelling. It could refer to the storyteller having a calmness or control over the sharing of the story. Perhaps this promotes the idea that every moment within the story contributes in some way to the main purpose of the story, thereby creating a "steadiness" in the telling.

Wisdom
Bards and seanachies believed in the stories they told. Their audiences knew not to question. If a feat or achievement seemed too remarkable within a story, then the storyteller would justify that it was a time of magic. I like to say that every story is true. Some stories are more true than others. Even in the tallest of tales, principles are being taught.

Brevity
Considering that the bards and seanachies knew two-hour and longer stories, brevity seems a strange "glory of speech". At the same time, the Irish are known for their blessings, jokes, and anecdotes. Length may not be the issue as there are times in all of our lives when we have shared more details than necessary to relate a story.

Hateful of Speech--(my interpretations)

Stiffness
Other words for "stiffness" are "frozen" or "fake". Memorized stories have a danger of sounding "stiff". A bit of improvisation and reaction to the audience's feedback allows life to be blown into the story.

Obscurity
When a storyteller begins or ends a session with stories of gloom, then the audience's trust in the storyteller is shaken. Serious stories can be shared though the storyteller must give a sense of hope or some hint of positive emotion at the end.

A Bad Delivery
Inappropriate or boring remarks could constitute "a bad delivery". Part of the problem could lie in a lack of passion or excitement in the story choice. Audience members can sense from the storyteller's tone of voice and body language of the disinterest in the tale.

Anyone has potential to be an honored bard or seanachie.

You can bask in the glory of speech beyond the "gift of gab" and onto the honored status of storyteller by applying the Irish storytelling techniques.

Here is an Irish blessing to guide you on the path of storyteller--
May you have the hindsight to know where you've been
The foresight to know where you're going

And the insight to know when you're going too far


Online Sources or Interesting Sites:
Online Videos:
Collections of Irish Stories, Anecdotes, and Sayings:
Other Interesting Irish Books:

Until we tell again,

Rachel Hedman
Professional Storyteller
Former Co-Chair 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