Welcome to the National Storytelling Blog! Within our membership, we have people with expertise in all facets of storytelling. Here we offer their insights and highlight their stories for you to enjoy, learn, and connect.
by Carrie Sue Ayvar
Magical words. Each summer at my grandparents’ house, my Grandma Selma would ask us, “Where would you like to go today?” Then she would utter those magical words and we would be off – to Europe, Africa, South America and beyond! She taught us that we could travel around the world, visit other places, times and peoples, all through a story… and still make it home for supper!
She would often add flavor and color to her folktales by incorporating words in the language of the home culture of the story. A bissel of Yiddish in her Shtetl stories or a little Russian in her tales of Baba Yaga made me feel that I was truly transported to those times and places without any need to pack.
My grandparents often told me that “it is harder to hate someone when you know their story.” Incorporating another language into one’s stories provides new perspectives and creates a warm and welcoming way to connect our divergent paths and illuminate the road home. As one young lady put it, “Gracias, I can listen with both my ears – Spanish and English!”
What a fun way to foster a sense of understanding and appreciation of our multi-cultural, multi-lingual and multi-faceted communities!
Are you interested in adding a second language to your tales? Wondering how? Join me this summer at the 2015 NSN Conference in Kansas City, MO. (July 30 – Aug 2) Celebrate and connect our diverse communities by learning strategies and techniques to incorporate a second language into your stories. Fluency in a second language is NOT required.
About Carrie Sue
Carrie Sue Ayvar, Bilingual (Spanish/English) Storyteller and Teaching Artist, grew up in Pittsburgh, PA, spent summers in South Florida and came of age in Mexico. She now lives in her grandparents’ house where she first learned the art of storytelling! www.carriesueayvar.com
By Katie Knutson
Many Storytellers, especially those who work with children, talk about doing residencies. Often we forget that newer tellers might not know what we are talking about. This is especially confusing when the term “Artist Residency” means two very different things.
A School or Arts Learning Residency
In my experience, when most storytellers talk about residencies they are referring to extended, arts-learning experiences, often offered in schools. These are classes, or sessions, delivered to students one classroom at a time, as opposed to assembly performances, where many classrooms come together to listen.
School residencies are often centered around a theme (e.g., bullying prevention, Italian folklore, life cycles of insects) and align with the school’s curriculum, goals, and/or state (or Common Core) educational standards. The length can vary from a single session to multiple sessions over many months. The goals of residencies vary greatly; sometimes teachers and administrators want a finished product, like a performance or piece of writing, and other times the goals are more skill or process-based, like critical thinking, observation, empathy, or teacher arts integration. There is usually at least one “core group” of students who participate in multiple sessions throughout the residency to work extensively on a particular skill, product, or goal.
A residency should allow students to learn through an art form, teaching fundamentals of both the art and the subject matter. For example, when doing an extended residency on the Civil War, in addition to telling stories about the war and its impact on a variety of people, you may cover research strategies, story arc, civil rights, vocal projection, characterization, and the Battle of Gettysburg, among other things. Before this kind of residency, the teaching artist, either singly or with the classroom teacher, creates lesson plans spelling out the goals and specific activities of each session. Additionally, all arts learning residencies should have built-in evaluations and embedded professional development for the teacher.
Alternately, this kind of residency can take place in Senior Centers, after-school programming sites, museums, daycare centers, adult day centers, libraries, and any other gathering places where people might want to learn in or through an art form.
The Artist Colony, Retreat, Studio Collective, Workspace, or Community
Most often called simply an Artist Residency, these programs open their doors to artists to give them focused time and space to practice their art and create new work. Approximately 500 programs exist in the U.S., with three times that number happening in at least 42 other countries, in both rural and urban settings. These residencies usually provide food and housing, almost unlimited studio time, and support for artists. Some charge a small fee, while others provide stipends. Either way, there is a selective application process.
Lasting from two weeks to a year, these programs usually involve some kind of community involvement, such as a concert, workshop, or artist meet-and-greet, but may also involve more extensive, hands-on, community-based work. Some of these programs host one artist at a time, while others invite up to 50 artists to live, explore, and create together.
For more information on these two types of residencies, see “Planning Your First Storytelling Residency,” earlier on the NSN blog (http://blog.storynet.org/planning-your-first-storytelling-residency), which includes a list of resources for school residencies, or check out the Alliance of Artists Communities (http://artistcommunities.org/), with loads of information about artist retreats.
Have you participated in or taught either kind of residency? Please share your most memorable moments below!
Katie Knutson is a Storyteller and Teaching Artist based in Minneapolis. In addition to writing or curating this column (New Voices), she performs regularly, leads workshops for storytellers and teachers, and spends time with her kindergartner. She is the Storyteller-in-Residence/Arts Integration Specialist at Folwell K-8 School. More at www.ripplingstories.com.
By: Dorothy Cleveland
I began my Heroine’s Journey when I started my Master’s program at the University of Minnesota in 2000. I had worked for many years in business and achieved all my goals. Still I was not happy. I felt incomplete. I started in the Human Resources program. I lasted four classes. I switched to a liberal arts program that allowed me to develop my own course work. It took me five years to complete my Master’s – a hybrid program of story performance and class work. This method is not for everyone, but it was what I needed to become whole. The stories I worked with were: Across the Tracks, Grendel’s Mother, and Grimm’s Handless Maiden. The first two stories were of my own creation about women trying to figure out life. The first story is redemption, while the second story is a tragedy. Both have elements of the Heroine’s Journey. The third story is a folktale that follows the Heroine’s Journey to a tee. Handless Maiden has become my guide for life. Whenever I’m in trouble times, I look to this folktale to get me through. It hasn’t failed me yet!
I’ve been working on a fictional tragedy based on a 1940’s gangster’s moll known only as ‘Doll Face’. Doll Face wants out of the mob, but she knows too much. She also knows that she will be killed if she slips out of town. She sees no way out so she commits suicide by jumping out the penthouse window.
I asked my friend to read a draft and the reply came back, “I want her to win and not die!” So I put the question out on Facebook … “Which do you prefer: Tragedy or Redemption?” The Facebook response was unanimously for redemption.
Now I have two endings: 1) Doll Face commits suicide and 2) she elaborately fakes her death for the mob and escapes back to the Midwest to live happily ever after with family.
I like an occasional tragedy. I love the original Brother Grimm’s folktales. I like when everyone dies of despair. This kind of story shows me that my own life is not so bad that I need to be depressed. But I have to admit that I liked creating the redemption ending. It was like a mystery unraveling as I pieced together hints in the original story to get to the point where Doll Face could achieve her goals of getting back home – and not via a casket.
I think it is why I push so hard for the Heroine’s Journey to be known. The true Heroine is a troubled person with what seem insurmountable obstacles to life happiness. She is wounded, separated from loved ones, betrayed by those she trusted, and frightened. She must endure forced solitude to figure out how to mature – to be his/her own person. If the heroine follows the journey to fruition, the person becomes fulfilled and whole.
Barbara Schutzgruber, award winning storyteller from Michigan, and I are presenting a workshop at the National Storytelling Conference in Kansas City, 7/30-8/2. Come to hear how the Heroine’s Journey can enrich your stories and your life. www.storynet.org/conference
Dorothy Cleveland is a 20+ year veteran of storytelling for adults. She recevied training at Metropolitan State University and the University of Minnesota where she received a Masters in Liberal Arts in Leadership for Women Through Story. She currently is the creator of FolktalesRising, a monthly venue encouraging storytelling and traditional folktales. Contact email: email@example.com.
by Bob Reiser
Me? Tell a funny story in public?! I could die out there!!!” That’s what folks say. Whether you call yourself humorist, raconteur or comic storyteller you may die many times – This is your chance to learn to live like a cat.
I died in nineteen eighty. My friends and I were about to get our big break – a high-class showcase for a comedy show we’d been touring! 130 journalists, booking agents, potential investors filled a drafty club in lower Manhattan.
The lights went down. The audience laughed. They clapped. They were ours…. Then it happened! The laughs faded to giggles, then to whimpers, then to silence. We looked up. The audience seemed puzzled. So, we went faster. Now they looked confused. We began to shout. Now they looked like a scene from The Producers – Their faces frozen in a rictus of horror!
Then, a terrible sound: the scraping of chairs. They were walking out.
I wanted to jump up and down and cry; I wanted to stage a full-blown temper tantrum. But, there is no crying in comedy. The audience’s exit had become The Exodus, and we still had three quarters of the show to do.
Finally, the house lights rose on an audience of eleven – my wife, bless her, my aunt, and a few stony-faced friends.
It was official — We had just died.
A week later we met and tried to figure out what had gone wrong. Comedy was a blood sport. Time to learn the rules. Here are a few that we figured out:
If you want to keep the audience with you, take it easy! When we saw that we were dying, we did the normal human thing – we ran like hell! Wrong! When you lose the audience, slow down. Give folks time to catch up with you. Don’t get louder; get softer. Show them that you are relaxed, and they will relax, too.
Rule Two: Move like butterfly, Sting like a bee.
Mix up your moves. You are a dancer, not a pile-driver. Use the laughs to accent the story, to give it rhythm. Keep the audience attentive to your every word – just where you want them to be.
Rule Three: Use your head, and not just to butt your opponent.
Learn the high points and the low points, the sweet parts the funny parts of your tale. A story is like a roller coaster – you need that long, clanking, chug chug chug up the hill so you can get to the wild shrieking whoop that follow, and after the climax, let your audience slow down and come to rest.
Rule Four: Be a lover, not a fighter.
As every teenage boy finds out, when you grab a girl, all you will get is a concussion. Likewise, no audience wants to be grabbed. They need to get to know you first. Bill Cosby begins his routine just sitting on the stage, smiling at the people. When they have quieted down, he begins to chat – like a favorite uncle. Soon he is on his feet, and his rubber face springs to life, and before you know it you are you are caught in the story’s web. Watch master-storytellers like Laura Simms and Donald Davis at work. You never see them coming,
Rule Five: Come out fighting!
Your way of telling is yours! Do it with all your heart! If you are loud and raucous, go for it! If you are quiet and intense, do that. Don’t apologize. Good comic storytelling is never having to say you are sorry. Remember the motto of the Undershafts, the munitions-makers in Shaw’s Major Barbara: “Unashamed!” A storyteller is Unashamed!!
OK, Rocky, you are almost ready. You probably know much of this. But going out there and risking a well-timed spit-take takes guts and practice. Come to “Bellylaughs and Beyond” at the 2015 National Storytelling Conference in Kansas City, MO (July 30-Aug 2). What can you lose? Bring a favorite funny story with you – Especially one you’ve never told on stage. The world deserves to hear it!
Bob Reiser’s enthusiastic storytelling style was shaped by a misspent youth rooting for the Brooklyn Dodgers, performing with Second City and doing street theater. With six books under his belt, including the award-winning Everybody Says Freedom, written with Pete Seeger, he finally calls himself a published author.
Next year he expects to unveil his new book, Story Fever, about the art and madness of a life in storytelling.
told by Harriet Cole
click to listen
Once upon a time I wrote an historical novel called Macbeth’s Mother. Yes, that Macbeth. I was intrigued by his (probable) half-brother, Thorfinn the Black, of Orkney, who had an equal claim to the Scottish throne. Thorfinn was the son of a Norseman and I told his story through the eyes of his personal skald or storyteller (and poet). That skald needed stories so I did some research and came across “Froði’s Mill.” I loved the tale of the girls who rebel and grind out an army to defeat the king who demands unlimited gold from the magic mill. Unfortunately Macbeth’s Mother ultimately collapsed under its own weight.
All my research had gone to waste!
But when I turned to storytelling, I encountered the folktale “Why the Sea is Salt,” which is pretty much the same story as the Froði myth. When I crafted my very own version, I added a guest appearance by the god Oðinn and a clear warning against greed. Every time I tell this story always reminds me of that research is never a waste of time. Macbeth’s Mother never saw the light of day, but here is Enough is Enough.
Harriet Cole has been a performing storyteller in Arizona for almost ten years. The story connections she is building between the South Mountain Community College Storytelling Institute and the Boys and Girls Club of Metro Phoenix will be highlighted during her workshop “Community Youth Story Journey” at the NSN Conference in Kansas City this summer. (Part of this work has been funded by an NSN Member Grant). Her favorite stories tend to come from the Norse, her favorite workshops are built for teens, and she loves every single one of her audiences!