
Friday, October 15, 2010
That Fairy Tale called Childhood, Mr. Glodowski, and Lifelong Learning

Sunday, August 15, 2010
Jackpot! 5 Ways to Boost Your School's Luck with Storytelling

- Classroom, School, and District Level Events
- Training Teachers to Merge Storytelling with Curriculum
- Storytelling Residencies
- Games
- Schools Standards
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller
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.
- Build an Event for Youth
- Develop Reunions and Gatherings
- Promote Storytelling Games and Fun
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller
Sunday, November 15, 2009
"Storytelling is Dead!": 3 False Readings to the Art's Vital Signs
Once upon a time the art of storytelling was born. The world celebrated the birth as the human family became more unified and edified upon each tale told.People seem unable to pinpoint storytelling's exact time of birth or that first story.
We have relished narratives without knowing all the details.
Some details have been important. . .particularly to storytelling's death.
Is the art living or shriveling?
Vital Signs Of Storytelling In Relation To:
- Technology Ticker
- Generational Gauge
- Political Pulse
False Reading: Technology will doom Storytelling.
Tick. Tick. Tick. Tick. Tick.
To some people, the progression in technology sounds like a metronome alongside a piano to provide the steady inspiration to create something extraordinary like concertos or full-orchestra pieces. People build relationships or collaborate who--due to distances--could not otherwise meet.
Others account the ticking to a time bomb. The explosion of social networking on Facebook, Twitter, and blogging could cause casualties, but will storytelling be one of them?
In the article "Native Canadians and the End of Storytelling" written by Jerry Mander, a woman believed this was the case.
She watched as television came to her village. Less and less children had any desire to sit around the elders at night to learn of their culture. Instead, the culture came from the television. She lamented, "The generations are sitting all together now, silently watching television. And on TV it seems like being young is all that matters and that the old have nothing to say."
No matter your view, we must remember that for every trend there is also a counter-trend.
Anyone who vocalizes their opinions strengthens these trends and counter-trends.
Society will seek for ways to interact the more that people latch onto laptops, cell phones, blackberries, or whatever else is the next vessel for technology.
Storytelling is often the counter-trend to technology despite existence of digital storytelling or virtual teller sessions through programs like Second Life. In fact, storytelling is more rooted in society than ever before because of the existence of technology. As long as the human race progresses with ideas and inventions, then there will always be the ones to uphold the narrative art in its purity.
Yet, we still come upon titles of lectures as given by Douglas Rushkoff like "The End of the Story: How the net killed narrative, and what - if anything - comes next". This was presented by The Brooklyn Experimental Media Center and the Dibner Family Chair in the History and Philosophy of Science and Technology.
Rushkoff questioned, "Is the traditional story itself a relic, incapable of providing meaning over time?" He continued, "Is it our job to create stories capable of competing with the ones currently programming our society, or to abandon this arms race altogether in favor of new artistic and cognitive mechanisms. And, if so, what are they?"
Lately we have witnessed storytelling combine with other art forms so Rushkoff may be right that some of us are "in favor of new artistic and cognitive mechanisms." Though does adding different styles to storytelling constitute a death of some kind?
The essence of the art must exist in order for other styles to be added to it.
Generational Gauge
False Reading: Storytellers are dying out with no one to replace them.
Needle up. Needle down. Needle still down.
Or are we reading the gauge upside down.
While interviewed by the Reading Eagle, professional storyteller Charles "Chill" Kuhn from Coatesville, Pennsylvania said, "Yes, I do believe storytelling is a dying art." He added, "But I would like to add that we are all storytellers whether we realize it or not."
This comment was enough for the article's author, Rebecca Strauss, to dubb the headline as , "Pro says love your stories: Professional tale weaver Charles 'Chill' Kuhn laments his dying art".
Not everyone agrees with this verdict, as was apparent when Betty Smith, who has worked with the National Storytelling Network staff as well as with the International Storytelling Center, responded to this article and declared on Facebook, "Hey storytellers. . .someone needs to let this guy know that storytelling is alive and well."
Reading the regular column of "Remembered Voices" compiled by Wendy Gourley in the Storytelling Magazine may seem that we lose at least one well-loved storyteller a month. However, for every storyteller who passes on, we gain at least two more new tellers.
Whether or not these new tellers align themselves with storytelling guilds or organizations does not change the fact that they do exist.
The Weber State University Storytelling Festival, which celebrates over 70 youth tellers as part of its program, has considered expanding from a three-day event to a four-day event in order to give at least 20 more youth opportunities to tell. Such a change may happen within three years. This does not count the hundreds of youth who participate before tellers are selected.
Whole schools or school districts declare storytelling units or festivals to fulfill the demand for this art.
The generational gauge certainly has the needle up.
Political Pulse
False Reading: Storytelling Organizations have lost their influence.
Thump. Thump. Tha-thump.
Can you hear the life of storytelling organizations? We did not always have them.
In an excerpt from The Way of the Storyteller, Ruth Sawyer, the author, wished, "there might be a guild for storytellers today where masters and apprentices might work together for the upholding of their art." She died five years before the National Association for the Preservation and Perpetuation of Storytelling (NAPPS) was formed in the United States in 1975.
Sawyer was not the only one who desired organization, as Kathryn Tucker Windham, key person of the American Storytelling Movement, wanted to be the first paid member of the NAPPS. Nowadays, NAPPS is known as the National Storytelling Network (NSN).
In NSN's golden time, there were over 4,000 members. This membership has dwindled to about 2,000 members.
During a personal interview in 2000, Windham reflected, "Organizations come. Organizations go. Storytelling remains. . .I'm at a place where I'm not scared anymore about what happens if this stops or that stops or whatever."
Though every organization, whether connected to storytelling or any other industry, have their periods of growth and then times that plateau. We are in such times.
Organizations do not equal storytelling. Windham was right that the art would continue whether people promoted the name of the National Storytelling Network or any other organization. These entities exist to give structure and possibility to what we cannot accomplish as individuals.
As if to respond to the current economical instability, there are still people who wish to join in the efforts. Tim Ereneta pointed out that Europeans tend to be more adept at these unions. He shared the promise for the International Storytelling Network, also known as Red Internacional de Ceuntacuentos. You can read Ereneta's blog post on this discovery here.
So membership numbers may rise or fall, though it appears we will have many organizations and guilds for decades--if not centuries--to come.
You must ask the question: Do you believe storytelling is "alive and well"?
You know my answer.
Until we tell again,
Rachel Hedman
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller
Sunday, November 01, 2009
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
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
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller
Thursday, October 01, 2009
Global Story Sisterhood Relations: 3 Ways to Become Family
Storytellers exist in every city, country, and continent. When we gather at festivals, conferences, or other events, we experience a kind of storytelling family reunion.
Then everyone goes home.
Nowadays we have the Internet to be updated by our fellow "brothers and sisters" in storytelling. . . .and sometimes that is where it ends.
Or could we do something more?
Storytelling organizations could create Story Sisters much like the Sister Cities or Town Twinning established through government or municipal levels. We could encourage growth and advocacy in the art.
How could such relations be forged?
- Involve Local People and Determine Purpose
- Discover Group with Similar Goals and Make Introductions
- Collaborate and Share Results
A collaboration of any kind always starts with an individual. You. Someone has to envision the partnership.
Then you find another individual in your vicinity. Most likely this would be another storyteller.
Add another individual. And add another individual.
If you have a storytelling club or guild in the area, then it would make sense to involve them. A guild could be a sister to another guild.
Feel free to expand the outreach with other pro-story people. Consider businessmen, educators, librarians, retirees, and youth.
Think about groups such as rotary clubs, churches, hospitals, schools, local government, and anyone else who could be excited to be with storytellers.
When I used to be with the Brigham Young University Storytelling Club, we called other clubs that we collaborated with as "cousin clubs". Performing art groups made sense to join efforts such as Y Juggle, the juggling club on campus. We combined skills to create the program "Once Upon a Juggler". The first and last stories of the session merged storytelling with juggling. Then, we rotated from storyteller to juggler to storyteller throughout the night.
Local collaborations are plentiful.
Chat about the purpose of gathering. What is the desire to connect with other people, groups, or organizations outside the area?
Hopefully, you are thinking beyond monetary reasons. Perhaps there are services or expertise that could be exchanged. Maybe you could create a youth program to teach leadership through story-based methods. Do you need volunteers to run storytelling festivals or events?
Whatever it may be, have everyone in agreement before moving onto the next step.
Discover Group with Similar Goals and Make Introductions
If the group you wish to meet has a website, then read their mission statement or objectives to see if they match the ones that your local group agreed on.
The Internet makes this possible as well as an invention that has been around for a while: the telephone.
For international calls, consider using a service like Skype to save money.
There is something about hearing someone's voice that is more inviting than simply sending an email request.
Some people are fearful of contacting someone from another part of the country or the world, though one only needs to remember that these people could love stories as much as you. . .if not more.
Some national groups to consider for collaborations or guidance:
- National Storytelling Network
- International Storytelling Center
- Storytellers of Canada/Conteurs du Canada
- Society for Storytelling
- Federation for European Storytelling (FEST)
- Australian Storytelling Guild
- Storytelling Association (Singapore)
- Zamaleo ACT
- And the list could go on and on
Once the relationship is established, then have each group's leader send the other group's leader an official letter to ask to work together. Be sure to share a general overview of your group, especially if this is the first time to be in contact. You may want to add promotional items like pins, pens, or anything else as a friendship gift.
Collaborate and Share Results
Decide on a project or at least determine a tentative time-line of when certain results would take place.
Did you want to have a Multi-Art event?
Would you like an elementary school class to interview senior citizens for stories?
Do you want Rotary club members to contact their international chapters for a storytelling event with broadcast abilities?
The ideas are endless.
Though, let the world know about them.
Share the project updates through websites, blogs, Facebook groups, Twitter, or any other social media tools.
You may find that spreading the word intensifies support. You could expand the scope you have for the next project or collaboration.
You would experience these storytelling reunions and efforts time after time.
Story Sisters could last for generations.
Now that is a storytelling family reunion!
Until we tell again,
Rachel Hedman
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller
Tuesday, September 01, 2009
Generation Gap of Tellers: 3 Ways to Prove This Myth Wrong
By the way some storytellers sound, it seems that the 40+-year-American Storytelling Movement is coming to a close as more and more tellers are aging . . .and passing on.At one time, I, too, had wondered about the generation gap.
Every time I attended a National Storytelling Conference, I was lucky to find 10 tellers within the 18-35-year-old range. Youth tellers, except for the Kids’ Koncert there, were practically nonexistent.
So we thought.
Then, after seeing the curious and excited looks of college students as I ran a booth on the art on their campus, I realized that the generation gap was only as looming as one made it to be.
Suddenly, I needed sunglasses to see the bright future.
Three Ways to Prove Generation Gap Myth Wrong:
- Use Different Names for the Art and the Artist
- Make Appearances on Campuses Beyond Performances
- Promote Generational Participate at Events
Use Different Names for the Art and the Artist
We are attached to the name “storyteller”. The name has a long and cherished history with people of all ethnicities, tongues, and climes.
Then something changed.
People have their lists of what de-valued the status of storytellers: television, video games, Internet, falling family values, drugs, gangs, etc. Whatever the reason or reasons, the name “storyteller” does not have the power it once had with youth and college-aged students.
Although the term “storyteller” could still be used as a label or profession, we need to add other words to our daily vocabulary within and without the storytelling community.
Otherwise, we run the risk of having certain images evoked when saying “storyteller” such as the picture of an old lady reading stories to preschoolers. Yes, we do have storytellers that have talents in “story-reading” as well as connecting with preschoolers, but our art offers even more variety than this pre-conceived idea.
So how can we increase other storytelling images when youth or college-aged students think of our art?
We connect with other narrative-based art forms and use some of their words to invite others to our art form. Some terms to consider: humorist, slam artist, spoken word artist, sit-down comedian, solo performance artist, etc.
For new festivals or events, we can experiment of naming it a “story festival” rather than a “storytelling” festival. For example, out in Hawaii there is the Talk Story Festival. Director Jeff Gere said that the phrase “talk story” was slang used often on the islands and thus it was adopted as the event’s name.
Make Appearances on Campuses Beyond Performances
Imagine the chance to introduce storytelling as an art to pursue with 3,500 or more people. . .in one place. That is easy to do when you connect with a campus.
Weber State University has an annual tradition of booths, prizes, and food also known as the Wildcat Block Party each Fall Semester. I cheered when given approval to have a booth to promote the Weber State University Storytelling Festival there.
Since there would be over 100 booths, I knew our booth had to stand out. We had to have a drawing with many storytelling-related prizes and candy. We also had the basic email list, festival business cards, and fliers.
After about five hours, I earned some sunburns—red battle scars—that told me that the day was victorious.
The results: 98 people entered the drawing, 56 signed the email list, 70 cards were taken, and 30 applications to audition for the festival were taken.
Yes, I do understand how the numbers work. Though 30 applications to audition were taken, perhaps five actually make the effort.
Yet, if five new college tellers were gained per Fall Semester over the course of 20 years, then that would be 100 new artists to storytelling.
Consider now that this was done for Fall and Winter Semesters at 50 universities, with one per state, what would your number be?
That would be 500.
The current membership for the National Storytelling Network is about 2,000 people.
Though, this idea of booths is not limited to college campuses. Although the main place to find storytellers are in elementary, middle, and high schools, there could be booths dedicated to the art during events where these students could be found.
We could play with numbers all day—and this is all hypothetical—but you can imagine that the generation gap of tellers does not have to exist.
Promote Generational Participation at Events
Most storytelling events unintentionally ignore youth and college-aged students by the tellers they invite. Every event is entitled to figure out how they go about choosing their tellers, however, if concerned about the generation gap of tellers, the next step is to invite them to tell.
As mentioned earlier, the booth promoting the Weber State University Storytelling Festival had applications so that college students could audition with 8-minute-or-less stories.
When students approached the booth, we called out, “Are you a storyteller, a story appreciator, or both?” Regardless of their answer, we could either guide them more about storytelling events happening and/or share opportunities of how they could be storytellers . . .and get paid.
This way, we start each session with two 3-minute story slots for youth, one 8-minute story slot for college students and adults, and finally about a 25-minute slot for the featured teller.
Returning to the numbers game, what if every storytelling festival reserved 3-5 slots for college students and youth?
Perhaps you will no longer believe in the generation gap of tellers, too.
Rachel Hedman
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller
Monday, June 01, 2009
Storytelling Lessons for Kids: 5 Ways to Go Beyond What Piano Can Give Them
Thanks to my nephew, sister-in-law, and mother-in-law for allowing permission to post the pictures. Throughout all ages of time, parents have encouraged and sometimes "forced" their children to receive piano lessons.
I was one of those kids who took piano lessons.
Currently, I do not have a piano in my home, which I plan to rectify soon. A home is not complete without a piano.
In the meantime, much of my piano skills have gone by the wayside, though the memories sustain me.
Despite the moments when I would rather do chores than practice the piano, I also had moments when I played and played and could not wait for the recitals.
I always was a child who enjoyed the spotlight.
Walking onto that stage was glorious, but once I got to the piano bench, I had to turn my back or side to the audience. Even if the piano was turned in such a way so that I could look at the audience, the piano was too tall to truly connect with the people out there.
Sure, I heard the applause after I played a number, but I missed the continuous reactions from the audience.
Then came high school.
I was a sophomore when my theatre friends encouraged me to look into the National Forensics League, which had several categories in public speaking contests.
One of those categories was storytelling.
Finally, I had an art form that would allow me to look at the audience the whole time.
Nowadays, most children are in front of the computer or television so often that sometimes they forget the joy of looking at the people around them.
They can comfortably interact with a video game or "talk" to online characters through virtual realities.
Then they stutter and stumble in front of real people.
While playing the piano improves creativity and develops a type of work ethic and commitment in the child, there is one art form that can easily adapt and apply to whatever the child pursues in life: storytelling.
Parents celebrate as they see their youth tellers have more sophisticated research skills and the ability to speak smoothly in front of a crowd due to the boost of confidence. Parents and teachers perhaps love the improvement of listening skills the best.
As the child becomes a young adult and must find work, the child will exemplify these skills, which are exactly what employers desire and request.
So where can youth turn for storytelling guidance?
Here are some ways:
1. Clubs
2. Camps
3. Festivals
4. Contest and Showcase Events
5. One-on-One or Small Group Lessons
Clubs
I wish there was a storytelling club during my elementary, middle, or high school days. At least I had the storytelling category through Forensics. In some ways, the other people in my category were part of a "club".
Fortunately, the creation of storytelling clubs for youth is on the rise across the nation.
The best book is Raising Voices: Creating Youth Storytelling Groups and Troupes co-authored by Kevin Cordi and Judy Sima. Youth clubs with a focus on fun and games will have the most success, and Raising Voices has plenty of games to choose that work from Kindergarten to high school students.
As an adult, you will be tempted to play these games, too. Go ahead and give yourself permission.
Members of storytelling guilds could be pro-active to encourage more youth clubs. The Utah Storytelling Guild is considering a youth chapter where kids across the state could gather and meet each other at least once a quarter.
Camps
The strongest states in youth storytelling usually have some form of camp dedicated to the art in order to satisfy the hunger that kids have to tell stories.
The Florida Storytelling Association organizes the most famous Story Camp. The event is mainly attended by adults and workshops are led by national tellers. Five youth are selected as scholarship recipients as a result of the Youthful Voices Storytelling Contest. Each youth has an adult storytelling mentor.
In Nebraska, the guild endorses a camp limited to 15 youth led by a national teller. For 2009, the theme is "In Our Own Voices" geared for 4th to 9th grade students and taught by award-winning singer-songwriter and storyteller Andy Offutt Irwin.
Utah has also had a surge of week-long Story Camps organized by professional storytellers Cherie Davis, Debi Richan, and Nannette Watts. They provide one type of camp for ages 8-12 and another for ages 12-18. They are able to give reduced rates to residents of Orem and Highland due to some generous grants.
Usually these camps are scheduled in the summer time when children may not have as many extra curricular activities and homework.
Festivals
There are always fetivals looking for youth performers on a local, regional or national basis.
These festivals tend to first think of dancers, musicians, and singers, but many are making way for youth tellers. It may be up to you to hint at the storytelling possiblities.
Many cities and towns have art festivals. Contact the director. Have the youth teller share stories for them. Then watch as the director schedules a slot or two for them.
Though some artists volunteer, the festival may offer to pay for the storytelling services of your youth. It does not hurt to ask.
Contest and Showcase Events
Nothing tends to motivate a child more than when it comes to a contest. In the storytelling arena, usually the word "showcase" is put in place of "contest" to indicate that each child is a winner.
The most popular kinds are tall tale and liar contests.
Perhaps parents are not as keen to these kinds as to what they imply, but as these tales are hilarious and high-energy, kids love them. In fact, if given the chance, kids like ot create their own stories rather than telling the classic tales of Paul Bunyan or Pecos Bill.
Then there is the National Youth Storytelling Showcase. Dr. Flora Joy, one of the founders, said, "Tomorrow's storytelling lies in the talents, interests, and motivations of today's youth."
Each state has a representative that forwards videotapes of their top five youth tellers to the Headquarters in Pigeon Forge, Tennessee. Of the thousands of entries, about 15-20 youth are invited to tell in connection with the Smoky Mountain Storytelling Festival. All youth are celebrated as finalists, though one is chosen as the Grand Torchbearer of Youth Storytelling for the year.
One-on-One or Small Group Lessons
Since you are familiar with how weekly piano lessons work, then the same format could work for storytelling lessons.
From a 2008 survey of 300 parents, 209 said they would be willing to pay for lessons or after-school programs in the arts reported by the Helicon Collaborative, a New York City-based arts nonprofit consulting group. Economy may be rough but parents want their art.
Most likely the parents first think of piano or dance, but there is a demand of life-skills that storytellers could pursue.
With many schools slashing out the arts, it is sometimes up to the parents to make sure art is experienced. Connect with a professional storyteller and ask if they would be willing to coach your child.
In fact, I will offer storytelling lessons to youth starting Fall 2oo9. I am considering in-person as well as e-lessons in combination of webinars so that location is not a factor. A workbook will be available for the participants.
As for piano lessons, I fully support them. I had piano lessons and continue to be glad I had them.

Remember that it is not always possible to have a piano on the journey of life.
Stories, especially the ones your youth tell, are for forever.
Until we tell again,
Rachel Hedman
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller
Friday, May 01, 2009
Storytelling: The Forgotten Art in BSA & What Mothers Have Known for Ages
"Storytelling is as basic to a boy as breathing and frogs...and as necessary to Scouting as run-ons and skits," stated Diana Mulligan, a mother and an author from Fresno, California.
She upholds the written word while recognizing the importance of oral storytelling to strengthen communities, homes, and individuals.
What comes naturally for Mulligan and other mothers has been slow to be acknowledged by the Boy Scouts of America. The storytelling merit badge has yet to be created.
Meanwhile, several women, such as Girl Scout Leader and Storyteller Karen Czarnik of Detroit, Michigan, were quick to join the "100,000+ BSA Storytelling Supporters" Facebook group. Czarnik pointed out that the Junior Girl Scouts have the "Now and Then Stories from Around the World" patch.
This may seem like "the boys" are behind on the merit badge endeavor. . .until you take a look at Scouting history. The World Scout Founder, Lord Baden-Powell, wrote the first Scouting manual in a story format and used and encouraged stories as the primary teaching tool of youth.
Storytelling must have been--and continues to be--so much a part of the Scouting culture that they forgot to make a merit badge for it.
Here are Glimpses of Storytelling in Scouting Today:
- Scoutmaster Minutes
- Campfire Programs and Yarns
- Pow Wow Leadership Training with Specific Storytelling Course
- Skits and Run-ons
- Communications merit badge with option to tell a personal story
- Indian Lore merit badge with option to tell short story of an Indian culture
Whether or not there is a specific time labeled as "storytelling" in the Scouting world, youth are telling stories. Storyteller Kristy Price was proud when her oldest son, an Eagle Scout, did storytelling in his youth. Her 12-year-old son has followed his brother's example and tells stories at present.
In 2005, when gathering signatures in support of the creation of the BSA storytelling merit badge, several Boy Scouts and Cub Scouts asked when the merit badge would be available. Some vowed to be the first to earn it.
I sighed every time I heard this wish. As a Wolf Den Leader, I knew that the BSA would take years before the merit badge came into being as I knew it was only a matter of time before the badge came into existence. I could not promise the boys that the merit badge would be there in time for them. I told them that perhaps they could be future storytelling merit badge counselors.
Then, with 4,315 signatures and a stack of letters of support, the storytelling merit badge proposal went before the National BSA Advancement Committee in May 2006.
It was denied for one reason: the committee could not distinguish the difference between the Communications merit badge and the proposed Storytelling Merit Badge.
When I received the email, I was confused by this response and asked in what way they felt this was the case.
It was obvious to me that the committee did not have a true storytelling experience.
There could have been unsaid reasons of why this committee did not see storytelling's importance such as:
1. Everyone Has The Ability To Do It
When asked to make a list of your strengths, you may list skills such as throwing a football, singing, dancing, etc. Would you remember to add eating, sleeping, and breathing? Along with these basic skills is that of storytelling. Our minds tend to mentally cross off something that we do not think is unique enough for such a list.
There are different levels of skills in being a storyteller. We have probably heard the boring and what seemed like "long" stories mixed with the fantastic ones. The storytelling merit badge would strengthen the skills that are ingrained in us as humans.
Many mothers include storytelling as their list of skills. Yet, it is often the father's example that has stronger influence on whether a child will enjoy reading, writing, or storytelling. Parents need to be "caught" telling stories.
The Watts Family in Highland, UT are a storytelling family. Nannette Watts leads and guides these skills for all her kids. Three have become National Youth Storytelling Showcase finalists while two more have had various awards for their tellings. In their home there is even a "designated stage area". It may not be the kind that you see in a theatre or museum, but it is enough to inspire this art.
2. "Storytelling" Is Not Often Looked At As A Job Skill
People like to use "public speaking" or "presentations" in the job interview setting. Though, if the company wanted star employees, they would want to ask about "storytelling".
While on Facebook, a guy wrote to me, "The whole point of merit badge is to (A) prepare them for life, or (B) give them a glimpse into that profession. I don't know about you, but I don't know any professional storytellers."
I responded to him that I was a professional storyteller and that there were thousands more like me. Even with this fact, he said he did not see a storyteller as a "real profession".
However, I stressed that applied storytelling was key.
As for the Watts Family, one of Nannette's oldest boys no longer pursues storytelling. However, when he completed a career questionnaire in high school, he ranked high in enjoying talking in front of people. We need more youth who have that confidence as they enter the work force.
Applied storytelling in careers is more important than if boys became professional storytellers.
In the health industry there is narrative healing. Education always has a boost in test scores when teaching is story-based. Corporate storytelling has increased sales.
The number one "profession" should be parenthood, and storytelling is an art and a skill that can build relationships between parent and child. These skills would be worthy for any Boy Scout to know.
3. Storytellers Do Not Often Share The Stage With Other Arts
The big stage tends to leave an honored space for theatre, dance, and music. The exception is of the storytelling festival circuit. What is forgotten is that without the stories, we would not know how to act or to move or to create sound. Storytelling is the overarching art.
Why else do we hear people from filmmakers to authors to stand-up comedians to dancers as "storytellers" if it was not an all encompassing art?
In certain places, only the mother keeps the status of storyteller as an honored one. Perhaps this is why when people think of the word "storytelling" that the image of a lady reading stories to preschool age kids is popular.
Elizabeth Ames Jones, Railroad Commissioner of Texas, said, "Storytelling has, in recent years, become less predominant in our society. Its ability to educate our youth is unrivaled. As a mother I understand the value of storytelling to children to develop listening, imagination and comprehension skills."
Do we need more mothers and grandmothers to remind their sons and grandsons of the importance of storytelling?
Yes, we do.
We also invite fathers and grandfathers to do likewise.
Storytelling: it's about family.
What You Can Do About the BSA Storytelling Merit Badge:
1. Join the "BSA Storytelling Supporters" site on Ning and invite all your friends
2. Join the "100,000+ BSA Storytelling Supporters" site on Facebook and invite all your friends
3. Spread the word of this movement to your local, regional, and national BSA offices
4. Send complimentary tickets of storytelling festivals to the National Office of BSA (especially the Advancement Committee)
5. Email me at info@rachelhedman.com for specific projects or assignments
In the meantime, Paschal Baute from Kentucky sent another proposal (can be seen on his site) in May 2009 on the storytelling merit badge that should be seen by the National BSA Advancement Committee soon.
Let us create a buzz to help this work along. Prayers are welcome. After all, the Lord is an amazing storyteller Himself!
Until we tell again,
Rachel Hedman
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller
Sunday, March 01, 2009
Teller & Teacher Heroes: Stories to Save the Day in the Classroom
Two-time Grammy winner and storyteller Bill Harley said, "Everybody worries about things being 'educational' with kids. I believe everything is educational, in that it says something about how one looks at the world--it imparts a knowledge, or world-view."Still, there will always be the people--including administrators, principals, and educators--who would rather have the facts and scientific proof that storytelling is necessary during the every day moments in the classroom.
These people should not be thought as "villains" for our teller and teacher heroes who support storytelling, but they do need to be welcomed as friends. With time, you may have some loyal "sidekicks" in the pursuit of imagination.
In the meantime, there are books and position statements that can provide super powers in vanquishing disbelief (see list at end of post). Storytelling can be embraced in any school.
Before you arm yourself with the stack of books or print the position statements, consider going back to the basics.
If I were to condense the skills of storytelling to four steps, they would be:
- Love Your Story/Subject
- Know Your Story/Subject
- Know Your Audience/Students
- Love Your Audience/Students
Love Your Story/Subject
Stories are known to tap us tellers on the shoulder to be told much like how certain subjects like social studies or math or language arts are drawn for teachers to teach.
Sometimes the relationships we have with our stories or with our studies extend beyond love. There must be some emotional charge to move us to share something.
This passion reflects in our aura, which emulates in pitch, tone, facial expressions, and body language.
One of my World Literature teachers was so dedicated that she dressed up as a cockroach when we studied The Metamorphosis by Franz Kafka. Or there was the Social Studies teacher who entered the classroom as a Russian soldier during the Joseph Stalin era. Both teachers shared the stories connected with those characters.
Costumes are not required to form an impression. But the energy they had? I remember their love for what they taught.
Usually when we share how we started on a certain path, we are energized. As teachers tend to be mysterious people to students, then teachers are encouraged to share how they became teachers and why the subject called to them.
Besides, to this day, there are students who think their teachers live in the school. Remind the students who you are and your connections to the curriculum. Students discover real-world yet their own personal connections to the subjects if you are willing to share your personal stories.
Beyond your personal tales, there are the moments within the lives of inventors, authors, scientists, and other great minds in history that would be interesting for students to understand.
When you find the stories fascinating, then it is likely that your students will feel the same way. Even teenagers, who tend to hide their feelings or disguise them in looks of disgust to look "cool", could sense the excitement.
Know Your Story/Subject
What we care about most is what we spend the most time. If you truly love a story or a subject, then hours and perhaps years are set-aside for it.
There is not one way to learn a story.
If you are visual person, then drawing storyboards of the different scenes in the story may work best.
If you are a literary person, then creating an outline of the plot points may trigger your memory.
You could be kinetic and prefer a hands-on experience. Then you may want to "play" with story by getting a partner in order to have pretend dialogues between characters. The dialogue may not make it to the final version of telling the story, but it may be enough to inspire the development of the piece.
You could decide that you like all of these techniques. . .or you create your own techniques.
When a teacher develops a lesson plan, much of the same brainstorming and organization skills are needed.
You do not have to consider yourself a storyteller to tell a story in the classroom.
Know Your Audience/Students
A teacher has an advantage over a professional storyteller as a teacher often sees the students daily over the course of ten months while a storyteller usually travels from venue to venue.
Due to this advantage, a teacher experiences the individual student personalities such as strengths, weaknesses, and quirks. These insights help decide what stories would be the most appropriate and of impact.
For example, the bully of the class may need to hear stories where there are consequences for such actions. Someone who is shy may feel empowered if a character who reflects their personality was able to conquer a great feat.
As a storyteller, I do my best to ask questions from the teachers as they know their students better than anyone. If I know what the students learned before I arrive (or what they are about to learn), then I take joy in connecting with the curriculum.
Rather than performing for school assemblies where all grades of the school attend, I relish in telling several times with smaller groups divided by grades so I can tell more age-appropriate stories. At a school in Salt Lake City, UT, I told stories for a day and a half because there were five sessions for the Kindergarten to 2nd grades, three sessions for the 3rd and 4th grades, and three sessions for the 5th and 6th grades.
Since early elementary grades focus on learning to read and write, my program for the Kindergarten to 2nd grades was on Literacy with stories like "Story Pox", "My Mom told me to go to the Library", and "My Brother ate my Book".
The 3rd grade were learning about several Native American tribes while the 4th grade were learning about Utah History. Can you guess the type of stories I shared with them?
Then the 5th grade focused on United States History while the 6th grade discovered World History. I began and ended with American tales, which included a tall tale with Sally Ann Thunder Ann Whirlwind Crockett, and mixed the middle with folktales from around the world.
Afterward, one of the 5th grade teachers approached me and said, "We are learning about the Revolution right now, but when we get to the Frontier, then we could have a tall tale section!"
Love Your Audience/Students
It may be the first time that a storyteller sees a particular audience, but the storyteller can still love them. The audience can tell whether a storyteller is excited or nervous or dreads them.
Students have the same sensory skills with teachers.
Hopefully, after seeing the same students every day, an appreciation for the students' creativity and genius has been instilled.
You will be a genius, too, besides already being a hero, by delving into the resources listed below.
Statements on Story in Education:
- National Council of Teachers of English (NCTE) position statement
- Youth, Educators, and Storytellers Alliance position statement
- Youth, Educators, and Storytellers Alliance website
"Must-Have" Books on Storytelling in Education or Studies:
- The Storytelling Classroom: applications across the curriculum by Sherry Norfolk, Jane Stenson, and Diane Williams (published by Libraries Unlimited in 2006)
- Tales as Tools: the power of story in the classroom by the National Storytelling Association (published by National Storytelling Press/National Storytelling Network in 1994)
- Super Simple Storytelling: a can-do guide for every classroom, every day by Kendall Haven (published by Libraries Unlimited in 2000)
- The Power of Story: teaching through storytelling by Rives Collins and Pamela J. Cooper (published by Waveland Pr Inc.; 2nd edition in 2005)
- Storyteller, Storyteacher: discovering the power of storytelling for teaching and living by Marni Gillard (published by Stenhouse Publishers in 1996)
- Story Proof: the science behind the startling power of story by Kendall Haven (published by Libraries Unlimited in 2007)
- Tell Me A Story: narrative and intelligence by Roger C. Schank (published by Northwestern University Press in 1990)
- Raising Voices: creating youth storytelling groups and troupes by Judy Sima and Kevin Cordi (published by Libraries Unlimited in 2003)
- Youth Tell: starting a youth storytelling festival by Nannette Watts (published by Nannette Watts in 2004)
- Children Tell Stories: teaching and using storytelling in the classroom by Martha Hamilton and Mitch Weiss (published by Richard C. Owen Publishers; 2nd edition in 2005)
Rachel Hedman
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

